本論文旨在探討BBC Proms如何透過音樂大型節慶的舉辦，並利用媒介、觀光等參與方式使觀眾獲得藝術感知，進而提升自身的文化資本，以達成古典音樂普及化的理想目標，同時提升古典音樂的近用性。本研究以2013年度BBC Proms作為研究對象，試圖透過分析單一年度的音樂節慶節目，以了解BBC Proms如何實際操作音樂品味的建構與詮釋，並且經由筆者在音樂現場的實際參與經驗和參與者訪談，捕捉BBC Proms的音樂現場氛圍。BBC Proms作為一個音樂教育性質濃厚的古典音樂節，節慶中所展演的不只是經典的古典音樂曲目，更重要的是提供創新音樂或其他類型音樂的首演發表。

本研究以法國社會學者Pierre Bourdieu的文化生產場域理論為出發點，將BBC Proms視為場域中的一個行動者，同時必須兼顧古典音樂專業和近用性，如何在「為藝術而藝術」和票房取向的矛盾邏輯之間尋求自己的定位，並藉以探討BBC Proms在古典音樂的封閉場域中的位置以及與其他古典音樂節慶行動者的競爭關係。接著，本研究會探討古典音樂的文化資本如何透過BBC Proms以科技媒介和節慶觀光的方式進行傳散，而讓參與BBC Proms的觀眾得以不同的方式接收。其中，隨著網際網路的發達，過往只能在英國境內傳播的BBC Proms音樂會轉播得以跨越時空限制而傳散至網路可及之處，將古典音樂文化的近用性提升至跨越國界的層次。

然而，即便是網路無遠弗屆的特性讓觀眾得以隨時隨地接收文化資本，希望親臨皇家艾伯特音樂廳現場朝聖的觀眾依然絡繹不絕，而此現象牽涉到音樂聆賞和觀光的「真實性」議題，討論BBC Proms音樂現場吸引人「與之同在」的獨特性為何，進而從文化觀光的觀點來評估BBC Proms作為音樂觀光的景點行程，除了本身的古典音樂節目之外，音樂現場氣氛、音樂廳建築和英國倫敦的其他景點等，有潛力串聯而成一套完整的BBC Proms音樂觀光行程。在虛擬與真實的音樂場景之間，數位傳播扮演著重要的整合角色，不僅傳散古典音樂文化資本，同時有機會激發閱聽者前往音樂現場朝聖的動力；除此之外，數位媒介所帶來的普及化效果，也為古典音樂未來的永續發展提供了另一個可供借鏡的作法。

The aim of this thesis is to explore the classical music festival, BBC Proms, as a source of empowering participants to gain aesthetic experience and accumulate cultural capital via digital media and tourism for the purpose of the popularising classical music. To figure out how BBC Proms builds and interprets the taste of classical music, a single year of 2013 BBC Proms was analyzed. The researcher went to the field where the on-site interviews were conducted, trying to capture the atmosphere in the music scene. As a classical music festival contributing to music education, BBC Proms not only presents classical music canons, but also encourages the development of innovative music and the debut of young musicians.
The French sociologist Pierre Bourdieu’s theory – the field of cultural production – is the starting point of and the theoretical background of the study. BBC Proms in this thesis is regarded as an agent in the field. BBC Proms struggles to position itself between the two contradictory logics, “art for art’s sake” and indices of box office; meanwhile, it also competes with other classical music festivals in the enclosed field of classical music. Moreover, the thesis explores how the cultural capital of classical music is diffused via digital media and festival tourism. Besides, as internet develops quickly, all concerts of BBC Proms could be transmitted immediately. The effect of time-space compression makes BBC Proms globally accessible which indicates that BBC Proms’ influence goes beyond the national border.
However, there are still audiences pouring into Royal Albert Hall to take part in the festival. The phenomenon suggests the pursuit of “authenticity” of music listening and tourism as well. What is the uniqueness in the music scene which attracts tourists to visit with the expectation of being “co-presence”? Thus, the research indicates BBC Proms as a selling point of music festival tourism which attracts classical music lovers and visitors who want to obtain cultural experiences as well. Digital media plays an important role between the real and virtual music scenes. It not only enables the diffusion of cultural capital but also encourages the audience to participate in the festival. In other words, digital media serves as an agent to popularize the music culture, which is probably a silver lining for sustaining classical music in the future.

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