本文想了解不同世代閱聽人的現場感和表演框架期待為何？研究者將研究對象分為三個媒介世代，即電子文化偏向世代、文字／電子世代及文字偏向世代，每個世代舉辦兩場焦點訪談，共計訪問三十位售票演唱會參與者。研究結果發現，對於閱聽人來說，演唱會中所呈現的各式「意外」，是閱聽人感知「現場」的主要來源，像是不同版本的演唱、節拍的失誤、歌曲的走音等。在表演框架期待部分，電子文化偏向世代較側重表演者自身魅力與現場參與氛圍；文字／電子文化世代著重於整體聲光音效與舞台效果；文字文化偏向世代則著重於與歌手的時空共在感及歌手的歌藝。

This study, drawing on the “liveness” concept of Auslander (2008), aimed to explore the audience's perception of liveness and the expected frame for live performance. In this study, we choose 30 audiences those had ever attend live and paid performance to be interviewees and hold 6 focus groups to collect interview data. For understanding the effect of media environment, the interviewees were divided into three generations according to the timing of emergence for digital technology: 1.digital generation (under 30 years old): those people who are growing up in a digital environment; 2. intermediate generation (31 to 50 years old): those people who are across the non-digital and digital technology era; 3.non-digital generation (above 51 years old): those people who are growing up in a non-digital environment. The research results revealed that Accidents including different versions of the singing, rhythm mistakes and out of tune are the main source of liveness for audiences in live performance . In expected frame for performance, digital generation tend to focus on performer's charisma and the atmosphere of participation; intermediate generation tend to focus on the stage effect; non-digital generation tend to focus on performer's voice.