Thematische Bibliographien / Rock al Parque (Music festival)

Auswahl der wissenschaftlichen Literatur zum Thema „Rock al Parque (Music festival)“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Rock al Parque (Music festival)"

Gottschalk, Kurt. „Borealis Festival, Bergen“. Tempo 70, Nr. 278 (28.09.2016): 92–94. http://dx.doi.org/10.1017/s0040298216000450.

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It wouldn't be the worst idea if Anthony Braxton's Composition No. 58 were used to kick off every music festival. In any event, it's hard to think of a fanfare more fitting for the common fan, whether of classical, jazz or experimental rock. It could, for example, quite easily be followed by a piece of Mauricio Kagel's instrumental theatre or a parade by the Sun Ra Arkestra or the precisely played experimental excursions of the Brooklyn avant-rock outfit Zs.

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Oliveira Medeiros, Isabella, Simone Evangelista und Simone Pereira de Sá. „Rock versus pop: symbolic disputes at Rock in Rio music festival“. Arts and the Market 11, Nr. 2 (30.04.2021): 136–46. http://dx.doi.org/10.1108/aam-09-2020-0043.

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PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.FindingsBy recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.Originality/valueThe paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.

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Tjora, Aksel. „The social rhythm of the rock music festival“. Popular Music 35, Nr. 1 (30.11.2015): 64–83. http://dx.doi.org/10.1017/s026114301500080x.

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AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis will employ a close description of this rhythm's phases, and how transitions between them are interactively negotiated. While rock music festivals certainly celebrate fandom, this paper draws attention to processes that build strong senses of community between participants while joining together in the camping site, outside stage areas. The social rhythm, as it is interactively and artfully produced between participants, makes the festival recognisable as a festival, and attractive as a social event. A profound sense of connectedness between participants is to be found between the tents in the festival camp.

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SILVA, PAULO RICARDO MUNIZ, und EDWAR ALENCAR CASTELO BRANCO. „Cantar e seguir a canção ou para não dizer que não esgrimi a palavra: guerra de sentidos e estética da contestação nas canções de protesto em Teresina (1975-1985) * War of senses and aesthetic of refusal in the protest songs in Teresina (1975-1985)“. História e Cultura 2, Nr. 2 (03.02.2014): 234. http://dx.doi.org/10.18223/hiscult.v2i2.846.

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Resumo: A música de protesto, categoria já consolidada no âmbito dos estudos sobre música brasileira, marcou a produção musical em Teresina, a capital do Estado do Piauí, durante a década de 1970. Neste contexto, o Festival Estudantil de Música do Piauí (FEMPI), e o Festival do Parque Piauí (FESPAPI), ambos ocorridos entre as décadas de 1970 e 1980, tiveram importância fundamental para a constituição deste quadro histórico. Responsáveis pela popularização de expressivos nomes da arte piauiense, tais como Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior e Williams Costa, estes festivais acabariam por gerar uma cultura musical de protesto, universo no interior do qual se destacam músicas como Biotema, Arames e Fuzis, Medusa e Represália. O propósito do presente artigo é, apoiado na análise das letras das músicas e, bem como, com o recurso à História Oral, re-conhecer este período e este ambiente da história da música piauiense.Palavras-chave: Música de protesto – Festivais – Piauí. Abstract: The protest song, a consolidated category of studies on Brazilian music, marked the music production in Teresina, the capital of Piauí State, during the 1970s. In this context, the “Festival Estudantil de Música do Piauí” [Piauí Student Music Festival] (FEMPI), and the “Festival do Parque Piauí” [Piauí Park Festival] (FESPAPI), both of which occurred between the 1970’s and 1980’s, were crucial for the formation of this historical framework. Expressive names in the Piauí art scene, such as Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior and Williams Costa, were popularized by these festivals that would eventually generate a musical culture of protest, within a universe in which stands out songs like “Biotema”, “Arames e Fuzis”, “Medusa” and “Represália”. The aim of this article is to re-discover this environment and this period of piauiense music history, supported by the analysis of lyrics as well as, use of Oral History methodologies.Keywords: Protest song – Festivals – Piauí.

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Brown, Alyssa E., Keith Donne, Paul Fallon und Richard Sharpley. „From headliners to hangovers: Digital media communication in the British rock music festival experience“. Tourist Studies 20, Nr. 1 (04.11.2019): 75–95. http://dx.doi.org/10.1177/1468797619885954.

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Extant tourist experience literature focuses on ‘live’ space and time activity, while pre- and post-components are often neglected despite the opportunities offered by increasing use of digital media communication (DMC). Focusing especially on the pre-festival experience but also addressing peri- and post-phases, this study examines the role of DMC in tourists’ experiences at British rock music festivals. Interviews with festivalgoers revealed three core and inter-related themes: information, emotional response and communitas. Initial engagement with DMC enabled planning, generated feelings of anticipatory excitement and created a sense of communitas. Online activity reduced peri-festival but continued to enhance the live event experience, while the virtual communitas was extended at the post-festival phase.

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Ilienko, O., und A. Furdychko. „PERFORMANCE FEATURES OF THE «CHERVONA RUTA» FESTIVAL: FOCUS ON THE INHERITANCE OF TRADITIONS“. Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, Nr. 24 (2022): 34–40. http://dx.doi.org/10.34079/2226-2849-2022-12-24-34-40.

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The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founders of this approach. So far, the arrangements of folk melodies by the band "Chervona Ruta" have been used by popular rock bands - "Haydamaki", "Mandry", "Perkalaba", "Hutsul calypso", "Kobza original", "Crying", "Down" and others. The modern Ukrainian pop band continues the tradition and modernizes its songs in various interpretations. The paper studies the features of the "Chervon Ruta" festival from 1988 to 2016. The focus is on continuing the traditions of the participants of the ensemble festival of the same name. The practical significance is to highlight the directions of musical creativity of the bands that continue (transform) the traditions of the Chervona Ruta ensemble. Keywords: "Chervona Ruta", festival, Ukrainian music, pop standard.

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Dinis, Maria Gorete, Celeste Eusébio und Zélia Breda. „Assessing social media accessibility: the case of the Rock in Rio Lisboa music festival“. International Journal of Event and Festival Management 11, Nr. 1 (06.02.2020): 26–46. http://dx.doi.org/10.1108/ijefm-02-2019-0012.

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PurposeThis paper aims to present a framework to analyse whether information published on social media is accessible for people with disabilities (PwD), namely, visual and hearing disabilities, with an application to a music festival.Design/methodology/approachThe methodology used in this exploratory study consists of establishing a recommended framework to assess social media accessibility for PwD, especially for people with visual and hearing disabilities (PwVHD), and analyse, through an observation grid, if the information published on the official pages of the “Rock in Rio Lisboa” music festival on Facebook, Instagram, Twitter and YouTube is accessible for this target audience.FindingsThe results indicate that, although the Rock in Rio Lisboa music festival is promoted as a festival for all, posts on social media are not accessible for people with visual and/or hearing disabilities and do not meet most of the defined parameters established in the proposed assessment framework.Originality/valueSocial media accessibility has not been analysed in previous research in the tourism context. This paper aims to fill in the void by establishing criteria and parameters that can serve as a basis for a framework for accessibility assessment in social media for PwVHD.

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Zmudzińska, Kamila, und Roman Matykowski. „Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland“. Journal of Geography, Politics and Society 13, Nr. 2 (29.09.2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.

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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.

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Pielichaty, Hanya. „Festival space: gender, liminality and the carnivalesque“. International Journal of Event and Festival Management 6, Nr. 3 (19.10.2015): 235–50. http://dx.doi.org/10.1108/ijefm-02-2015-0009.

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Purpose – Contemporary outdoor rock and popular music festivals offer liminoidal spaces in which event participants can experience characteristics associated with the carnivalesque. Festival goers celebrate with abandonment, excess and enjoy a break from the mundane routine of everyday life. The purpose of this paper is to explore the way gender is negotiated in the festival space. Design/methodology/approach – The rock and popular music tribute festival, known as “Glastonbudget” provides the focus for this conceptual paper. A pilot ethnographic exploration of the event utilising photographic imagery was used to understand the way in which gender is displayed. Findings – It is suggested that liminal zones offer space to invert social norms and behave with abandonment and freedom away from the constraints of the everyday but neither women nor men actually take up this opportunity. The carnivalesque during Glastonbudget represents a festival space which consolidates normative notions of gender hierarchy via a complicated process of othering. Research limitations/implications – This is a conceptual paper which presents the need to advance social science-based studies connecting gender to the social construction of event space. The ideas explored in this paper need to be extended and developed to build upon the research design established here. Originality/value – There is currently a paucity of literature surrounding the concept of gender within these festival spaces especially in relation to liminality within events research.

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Marcus, Alan P. „When Brazil Got the Blues: The Diffusion of Blues in Brazil“. Brasiliana: Journal for Brazilian Studies 10, Nr. 2 (18.02.2022): 382–406. http://dx.doi.org/10.25160/bjbs/10.2.22.

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Thisarticlewillexamine theintroduction of blues in Brazil (1985-1992), a phenomenon thathas not yet been addressed in scholarly spheres until now. By highlighting the processes of globalization and the Brazilian blues band from Riode Janeiro, Blues Etílicos, I ask what were the spaces, places, and venues that helped to disseminate blues throughout Brazil? How does an African-American-based genre adopted and popularized by upper-and-middle-class white urbanites in Brazil? To answer these questions, I discuss the process ofglobalization and the Geography of music, political, musical,and cultural backdrops, and the end of Brazil’s military dictatorship in 1985, which overlappedwith a major Brazilian rock festival, “Rock in Rio,” and later, Brazil’s first blues festival in Ribeirão Preto in 1989. This article adds to the scholarly literature of music geography by looking at ongoing discussions of Brazil’s changing political, cultural, and musical landscapes.

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Dissertationen zum Thema "Rock al Parque (Music festival)"

Koski, Carina. „Musikfestivaler som turistiskt dragplåster : en fallstudie på Sweden Rock Festival“. Thesis, Gotland University, Department of Business Administration, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-214.

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Lately, more and more music festivals have emerged in Sweden. People’s desire and need to visit these events only seems to increase. Cultural tourism and music tourism has developed into a significant and important part of the experience industry and it employs more and more people within the tourism industry. The purpose of this paper is to investigate which effects this can have on the local community. Focus is held on the touristic and economic impact on the nearby municipality and region.

The paper is based on a case study on Sweden Rock Festival, which is one of Swedens largest music festivals with a heavy-metal direction. Sweden Rock Festival is located in the south of Sweden in a small municipality called Sölvesborg. Sölvesborg has about 17 000 inhabitants and each year some 33 200 festival visitors decend on the area to attend the festival. To investigate the touristic and economic impact that Sweden Rock Festival has on Sölvesborg, interviews have been conducted. These interviews have been done by either telephone or by e-mail with people from the municipality, the Sweden Rock Festival organization and people with connections to the local business life. Also, two experienced festival attenders have been interviewed to investigate the visitors use of the area’s supply of tourism attractions besides Sweden Rock Festival.

The study has shown that Sweden Rock Festival has contributed to putting Sölvesborg on the touristic map and increased the awareness and knowledge about the area. New camping sites and restaurants have opened and many companies benefits on the vistitors that Sweden Rock Festival attracts. The tourism- and travel industry on the destination has increased its sales and more job opportunities have been created. As a conclusion, the study shows that it can be viewed as a good idea to use music festivals as a means to increase a destinations touristic and economic value.

Det har på senare tid uppkommit fler och fler musikfestivaler i Sverige. Människors önskan och vilja att besöka dessa evenemang verkar bara tillta. Kultur och musikturismen har utvecklats till att bli en betydande del av upplevelseindustrin som sysselsätter allt fler människor inom turismbranschen. Denna uppsats syftar till att ta reda på vilka effekter detta kan få för lokalsamhället. Fokus ligger på den turistiska och ekonomiska påverkan för den närliggande kommunen och regionen.Uppsatsen baseras på en fallstudie av Sweden Rock Festival som är en av Sveriges största årligen återkommande musikevenemang och inriktar sig på musik av det alternativa slaget, främst hårdrock och metal. Anledningen till att valet av undersökningsobjekt föll på just Sweden Rock Festival är att det efter sökningar på Internet och i litteratur verkade finnas betydligt mindre forskning kring den i jämförelse med andra svenska musikfestivaler, exempelvis Hultsfredsfestivalen. Detta ansågs som något märkligt då Sweden Rock Festival drar mest besökare av alla de svenska festivalerna och har ökat i besökarantal under flera år i rad och fortsätter att växa i popularitet.Sweden Rock Festival är lokaliserad till Sölvesborgs kommun i de sydvästra delarna av Blekinge i södra Sverige. Festivalområdet ligger i en liten by med namnet Norje dit drygt 33 000 besökare reser varje år för att lyssna till musik och leva festivalliv under ett par dagar. Sölvesborgs kommun har knappt 17 000 invånare, så när invånarantalet under en vecka i juni varje år mer än fördubblas är det ingen långsökt tanke att detta medför en viss påverkan på samhället.För att ta reda på hur Sölvesborgs kommun har påverkats av Sweden Rock Festival vad gäller turism och ekonomisk utveckling har ett antal intervjuer genomförts dels via telefon, men också med hjälp av e-mail. Personerna som har intervjuats är verksamma inom Sölvesborgs kommun, inom Sweden Rock Festivals organisation eller har kopplingar till företagandet på orten. För att undersöka i vilken utsträckning som Sölvesborgs turismutbud utöver attraktionen Sweden Rock Festival utnyttjandes, har två rutinerade Sweden Rock-besökare intervjuats.Undersökningen har visat att Sölvesborg har satts på kartan på ett sätt som aldrig hade hänt om inte Sweden Rock Festival hade funnits. Festivalen har ökat medvetenheten och kunskapen om Sölvesborgs kommun bland människor runt om i landet. Till följd av Sweden Rock Festival har det öppnats campingar och restauranger och företag i många olika branscher som gynnas av de besökare som festivalen attraherar. Turism- och reseindustrin i Sölvesborgs kommun har ökat i omsättning och fler arbetstillfällen har skapats, vilket kan öka inflyttning till orten samt minska utflyttning. Sammanfattningsvis visar studien att det ses som en god idé att använda musikfestivaler för att öka en destinations turistiska och ekonomiska värde.

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ABDALA, Lorena Pompei. „Estéticas da existência: a moda nos Festivais de Rock (Goiânia Noise Festival e Lollapalooza Music Festival-2008/2009)“. Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2830.

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Made available in DSpace on 2014-07-29T16:28:01Z (GMT). No. of bitstreams: 1 ESTETICAS DA EXISTENCIA PART 1.pdf: 220939 bytes, checksum: 22ef569adbc52795342cfe83a7ff729d (MD5) Previous issue date: 2010-04-13
This dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates as an existential support in the setting of the visual symbolic representation of a given culture at a given time and space history. The figures of speech created by the practices of fashion generate social archetypes that become signs of a life style. The dress becomes a whole system of meaning. The analysis is based on photographs taken of goers of the two festivals (Festival Goiânia Noise and Lollapalooza Music Festival), noting that were considered the subjects photographed and not the photograph itself, as supported by observation. The study was structured considering the symbolic systems as creators of communities of existence and fashion as a form of social practice. Thus, the work is grounded in the discourse of fashion in the form of how identities are determined by simulations made by the groups / tribes and how to establish mediated existence poetics of everyday wear.
Esta dissertação versa sobre as práticas de si como mediadora do processo de construção das identidades, as quais legitimam as existências sócio-culturais dos sujeitos. Através das narrativas visuais produzidas no cenário dos festivais de rock, foram traçadas as relações da moda como instrumento para a construção das identificações. A moda, entendida como uma prática social e cultural opera como um suporte existencial na fixação das visualidades da representação simbólica de uma dada cultura, num dado tempo e espaço histórico. As figuras de estilo criadas pelas práticas da moda geram arquétipos sociais que se tornam signos de um modo de vida. A vestimenta torna-se um sistema inteiro de significação. A análise baseia-se em fotografias tiradas de freqüentadores dos dois festivais (Festival Goiânia Noise e Lollapalooza Music Festival), lembrando que foram considerados os sujeitos fotografados e não a fotografia em si, como suporte de observação. O estudo foi estruturado pensando os sistemas simbólicos como criadores de comunidades de existências e a moda como uma forma de prática social. Deste modo, o trabalho se fundamenta, nos discursos da moda, na forma de como as identidades são fixadas pelos simulacros criados pelos grupos/tribos e de como se estabelecem as existências mediadas pela poética cotidiana do vestir.

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Zabrovskaya, Yulia, und Monika Pavilonyte. „Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia“. Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.

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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.

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Valdemarsen, Johanna. „Gatsten eller lervälling : En studie i hur habitus påverkar människors val av musikfestivaler“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-25732.

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I denna uppsats undersöks habitus påverkan på vilken slags festival människor väljer att besöka och varför. Med dagens stora utbud av festivaler och det nya festivallandskapet som har växt fram de senaste åren finns det något för alla som är intresserade. Syftet är att med hjälp av kvalitativa intervjuer försöka definiera vad det är som gör en festival intressant för vissa och helt ointressant för andra och hur detta kan kopplas samman med Bourdieus teori om habitus. För att stärka teorin används även två av Bourdieus andra teorier inom det sociologiska fältet, symboliskt kapital och det sociala fältet. Studien har visat att informanternas intresse för musik och för att besöka festivaler startade när de var unga. Med åren har deras habitus förändrats och vad man vill få ut av en festival i vuxen ålder skiljer sig från vad som ansågs viktigt när man var yngre. Tydliga exempel är att man vill sova gott och att man inte vill ”vara fast” på ett festivalområde. Därför har stadsfestivalerna blivit ett alternativ för många. Dock finns det grundläggande syftet till varför man besöker en festival kvar även i vuxen ålder; man vill höra musik och njuta av stämningen. Detta är något som inte är begränsat till vilken festival man besöker utan styrs av smak och sociala grupper. När det finns både campingfestivaler och stadsfestivaler ges individen möjlighet att välja och det finns något för alla som vill besöka festivaler. Uppsatsen ligger inom det musiksociologiska forskningsområdet och tar upp frågor gällande interaktionen mellan personer, deras habitus och deras festivalupplevelser. Tillsammans bildar de ett forskningsområde som inte har berörts tidigare.

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Bernhagen, Lindsay M. „Sounding Subjectivity: Music, Gender, and Intimacy“. The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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Liu, Yi-Chun, und 劉怡君. „Rock Music Tourism: Rock Werchter Festival and Participants’ Performances“. Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4qb372.

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碩士
國立臺灣師範大學
歐洲文化與觀光研究所
106
In post-modern society, music consumption has derived its form from private listening to live houses, concerts, or music festivals, seeking for companion who share the common taste or affection. Music festivals particularly play an important role on music tourism nowadays. Based on the researcher’s music-listening experience, this research, taken Rock Werchter in Belgium as an example, aims to explore the construction and destruction of order in the festival space, the development of music festivals in response of the tourism market, and the “we-ness” of participants and the emergence of “the Others.” This research draws on Mikhail Bakhtin’s carnivalesque and Michael Foucault’s heterotopia to examine the forming and popularization of music festival tourism. Words, images, blogs, Internet resources, interviews and data collected during the fieldwork are analyzed from the perspectives outside and inside the field. How the space and the context of Rock Werchter are constructed is the main focus here. Rock Werchter is an intriguing case in terms of a festival emphasizing on its line-up, with the lack of carnival elements, such as dances or theaters. Therefore, the mobility and the participants themselves have become the music scene. Coding the data collected from blogs and interviews through discourse analysis, the participants’ consumption and performances have transformed the group into “neo-tribe, ” where through collective expression, gazing, or listening body, participants generates fellow-feeling and creates a sense of belonging. However, the research finds that differences of races, genders, or languages still expand the awareness of “others” even within the aesthetic aura. Today, the transformation of lifestyle has led to cross-national music tourism, and music becomes the travel destination. Adding the ideology of rock music in the music scene of festivals, blended with commercialization and tourism trend, the festival and participants together shape a special spacetime. Although participants are not fully royal to the neo-tribe, the consumption and performances in Rock Werchter indeed demonstrate an alternative perspective of music tourism.

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Liu, Yi-Chung, und 劉怡宗. „Imageation of Destination for the Research of Music Festival-Ho-Hai-Yan Rock Festival“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/zsgtzd.

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碩士
世新大學
公共關係暨廣告學研究所(含碩專班)
101
When people making a decision to travel , it depends on the image of the place for the favority or not. The image of destination will keep affecting when travelers take a trip .Hence, the destination depend on its unique image to attract to the travelers to proceed. However, the reason of some festivals and the culture of the place get out of touched is not only on the enconomy of the activity rather than the culture and ignoring the quality of activity and content of the culture bring the depth of meaning to the travelers.If the quality of activity can not touched with the characteristic of the destination, it could be make the festival or image of the place would lose its credibility. The research consider of music festival is an outcome of the inter-influence for the space of sign and participants , it‟s to deconstruct the “Ho-hai-yan Rock Festival” to give the travelers to get the image of Gongliao, the research devided into 2 section of ”travelers” and “space”, it hopes to explain to the destination of Gongliao by the deconstruction of space and psychology of travelers.Hence, the research investigates to the travelers‟ feeling at the difference stage of Organic Image, Induced Image, Complex Image by the view of the Image of Destination of Fakeye and Crompton(1991), with the 10 respondents who like “Ho-hai-yan Rock Festival”deeply, in order to exvacate the view and feeling of the respondents at the different image stage by the deeply interview. This research discovers that Organic Image can transform to a new Complex Image by the external stimulant and the festivals can affect to the Image of the place in deed. This affection to the image is the key to success to transform to the image of the place by the effective external festivals, the“Ho-hai-yan Rock Festival”, by combining its elements of the place but not conflict it. This is the indispensable to “Ho-hai-yan Rock Festival”(External elements) and Beach of Gongliao(elements of place).

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Chen, Mei-Huan, und 陳美寰. „The Local Practice of Music Festival - Small Oyster Rock and South Howl“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/m4b8vu.

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碩士
國立臺灣大學
建築與城鄉研究所
104
The indie music scene in Taiwan has become very active in recent years. A variety of music festivals took the stages in both urban and rural settings, and some of them were initiated by devotees of music’s local practice, such as “Small Oyster Rock” in Kezailiao and “South Hawl” in Anping. Their intentions focused on the revitalization of places through the medium of music events. The purpose of this thesis is to explore how the local practices of music festivals emerged in south Taiwan and how they were orchestrated through specific local context. We surmise that one of the major attributions of the rise of local music festival is the homeward bound movement of Taiwan’s young generation. They dedicate to make a difference in their hometowns and rejuvenate the passé sense of place, and curating a music festival is an alternative to create a venue as well as a route extending from the root of a place. The bottom-up music festivals contrast with their top-down counterparts sponsored by the government or corporate capital in that the concern of local practice fosters new social relations of the place. The concept of “heterotopia” is employed to explain how the local practice of music festival polemicizes the concert venues as spaces between utopia and real space. In “Small Oyster Rock”, the heterotopia gathered festival aficionados with Kezailiao locals and implanted an indie rock concert onto an authentic fishing village. The juxtaposition engendered both a tension and an emancipation of a carnival and delivered a strong sense of a real place that attracted many young people. In “South Howl”, the local practice of music festival is considered as a process of reconstructing place narratives through several spatial projects. By bringing small concerts back to the courtyards of different temples, “The Small South Howl” project reinvent the narrative routes of the historical neighborhoods. “The Restoration Plan of Wind Lion God” attempted to remake the traditional talisman “Wind Lion God” and restore them on the rooftops of houses in Anping. Through music events, the South Howl practices reconstructed pico-narratives of local daily life to replace the grand narratives of authorized history, thus strengthened the local identity.

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Ku, Tzu-Huan, und 辜子桓. „Music festivals are utilized to realize the concept of indie music DIY– A Case Study of Beastie Rock Festival“. Thesis, 2015. http://ndltd.ncl.edu.tw/handle/33922125364265879860.

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碩士
國立中正大學
電訊傳播研究所
103
This study aims to discuss the phenomenon that occurs in Taiwan’s indie music events while music festivals are utilized to realize the concept of indie music DIY. Example as Beastie Rock Festival was introduced to illuminate the cultural ideology, qualities and the meanings of scene hidden behind the indie music groups. Accordingly, the music DIY event of Indietaiwan（音地大帝） held in Beastie Rock Festival was analyzed and the investigation with respect to the preparation of the Beastie Rock Festival, types of participants, and its development in Taiwan’s current music events were also involved in this study. Indietaiwan which has been known by its distinctive styles made a considerable contribution to the success of music DIY event in Beastie Rock Festival. Through the choice of spot in urban area as well as the cooperation of non-profit professional bands, volunteers and those adept at social network, the Beastie Rock Festival was successfully held. In acknowledging the efforts from Indietaiwan, it is not deniable that the music DIY event could not be so completed without the timely support from independent music social groups. The whole atmosphere in Beastie Rock Festival was more like a family reunion since those who participated in this grand event were mostly from the bands not those who are fond of music. Furthermore, Beastie Rock Festival embraced diverse music styles or bands with divergent age groups. Some choices were left for the new bands or bands from high school. The close tie between Indietaiwan and the bands in Taipei has led to the r power relation between Beastie Rock Festival and bands. Beastie Rock Festival basically combined the music element between Spring Scream and Formoz Festival. On one hand, it resonated the general market demands, and on the other hand, it surely established a clear rule. From the music DIY event, it is noticeable that the music festival is now more approachable than ever. However, generally speaking, Beastie Rock Festival is still under development, therefore, more aspects needs improvement and more financial issues require adjustment. Nevertheless, Beastie Rock Festival is still moving forward with great faith and determination even when the competition is getting more fierce.

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Bücher zum Thema "Rock al Parque (Music festival)"

Burgos, Beatriz María Goubert. Festival Rock al Parque: Ópera al Parque : memoria social 1995-2007. Bogotá: Orquesta Filarmónica de Bogotá, 2011.

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Bašin, Igor. Novi rock: Rockovski festival v Križankah, 1981-2000. Maribor: Subkulturni azil, 2006.

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Mike, Plumbley, und Turner Pete, Hrsg. Isle of Wight rock: A music anthology. Niton: Isle of Wight Rock Archives, 1996.

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Littleproud, Brad. Woodstock: Peace, music & memories : 40th anniversary. Iola, WI: Krause Publications, 2009.

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Frazzi, Luca. 18 anni di Festival Beat: La storia, le immagini, i ricordi, le emozioni. Milano: Tsunami, 2011.

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Robison, Greg. Coachella. New York: Rosen Pub., 2009.

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Caro, Gonzalo. El Festival de Ancón: Un quiebre histórico. Medellín, Colombia: Instituto Tecnológico Metropolitano, 2001.

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Fernando, Aceves, Cortés David und Festival Iberoamericano de Cultura Musical (2007 : Mexico City, Mexico), Hrsg. Vive latino, 2006-2007. [México, D.F.]: OCESA, 2007.

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Wadleigh, Michael, und Bob Maurice. Woodstock: 3 days of peace & music. 2. Aufl. Burbank, CA: Warner Home Video, 1994.

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Baldazzi, Gianfranco. La canzone italiana del Novecento: Da Piedigrotta al Festival di Sanremo, dalcaffè-concerto all'opera rock ... Roma: Newton Compton, 1989.

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Buchteile zum Thema "Rock al Parque (Music festival)"

Machado, Annaelise Fritz, Bruno Sousa, Joice Lavandoski, Laurentina Vareiro und Victor Figueira. „Music, Green Marketing and Sustainability Festivals: the Case of the Rock in Rio Tourist Event“. In Festival and Event Tourism, 64–71. GB: CABI, 2022. http://dx.doi.org/10.1079/9781789248685.0007.

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Liberato, Dália, Elga Costa, Cláudia Moreira, Pedro Liberato und Joaquim Ribeiro. „Sustainability Practices in Events’ Organization in Lisbon. Empirical Study of the Rock in Rio Music Festival“. In Tourism, Travel, and Hospitality in a Smart and Sustainable World, 139–58. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26829-8_9.

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Waksman, Steve. „Crowds, Chaos, and Community“. In Live Music in America, 345–417. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0008.

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Music festivals mattered to the larger development of American live music along multiple fronts in the two decades following the founding of the Newport Jazz Festival. Most saliently, festivals helped to push the business of live music more and more toward large-scale production, laying the groundwork for the arena and stadium rock economy. Because they so often had an aura of idealism surrounding them, however, music festivals could never be reduced to strictly commercial ventures. The combination of scale and singularity gave festivals the aura they would come to possess and made them flash points for contests over cultural values that coursed through the musical styles put on stage. This chapter traces the development of US music festivals from the establishment of the Newport Jazz Festival in 1954, to the Newport Folk Festival in 1959, and then into the era of the rock festival in the late 1960s. In jazz and folk alike—and in rock, where the influence of both would loom large—festivals came to stand for a host of tensions that characterized the social role of popular music in the post-war era.

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Haworth, Rachel. „Mina, Rock ‘n’ Roll, and the Sanremo Festival“. In The Many Meanings of Mina: Popular Music Stardom in Post-war Italy, 26–54. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385601_2.

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Palmer, Landon. „Onstage/Onscreen“. In Rock Star/Movie Star, 96–134. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.003.0004.

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The link between alternative film production and rock culture continued in the subgenre of the music festival documentary, which came into being through the direct cinema documentary movement. The transition from the recording studio to the live stage was a defining one for rock culture at the end of the 1960s, and the aesthetics of presenting dynamic concert performances—communicated widely by audio and moving image representations of concerts—displayed ideals of rock authenticity. Exploring four feature documentary projects organized around the countercultural space of the rock festival, my third chapter demonstrates how emergent means of nonfiction film production shaped the onscreen spectacle of a rock musician performing live onstage. Through concert documentaries, a rock star no longer had to go to the studio lot to appear onscreen; instead, their stage labor could be preserved and extended through new camera and sound recording technologies. However, while the technologies (and filmmakers’ philosophies) that informed direct cinema seemed to offer a uniquely uncompromised means for representing rock culture onscreen, the production histories of concert documentaries also reveal how rock stars’ control over their own representation was not distributed equally, ranging from the option of refusing to be filmed to the power to determine whether a film project even saw the light of day. Produced in the absence of major film studios, arrangements of power between filmmakers, rock stars, and festival organizers existed on a case-by-case basis, and rock stars operated on a spectrum between observed subjects and controlling gatekeepers of moving image depictions of their performances.

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Payne, Leah. „“The Now Generation”“. In God Gave Rock and Roll to You, 38–56. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197555248.003.0004.

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Abstract Chapter 3 shows that, while evangelical opposition to rock remained strong throughout the 1960s, eventually young musicians with stories of radical conversion proved that the much-feared “devil’s music” could create new vistas for end-times prophecy and profit. The apocalyptically minded, evangelistically oriented Jesus movement of the early 1970s used rock, folk, and West Coast countercultural aesthetics to preach the good news. While many conservative evangelicals treated Jesus people with wariness, Rev. Billy Graham and others welcomed them and their music into the white evangelical fold. Along the way, the “hippiezed Christianity” present in Jesus music was used to rebrand evangelical Christianity and political conservatism as the “real” form of counterculture and rebellion. As Jesus music and the Music of America’s Young Majority developed and converged in Christian bookstores, on Christian radio stations, and on music-festival stages, their combined efforts, tensions, and contradictions, came to be known as Contemporary Christian Music.

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Kelly, Paul. „Creating Your Festival Budget“. In Principles of Festival Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-82-6-4067.

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After reading this part you should: The director of a company specialising in festival support services had just come back from a contract at London’s Hyde Park, a big outdoor event, headlined by The Eurythmics, a fashionable band at the time. “What were they like?” an excited music enthusiast asked him. “I’ve no idea,” came the droll reply, “I spent the whole evening unblocking the toilets” (Toby Short of Rock City Stage Crew, 1999). To some, festival budgeting is a bit like that, it’s a task that seems dull boring and repetitive, but it’s also incredibly important. Doing endless budget projections – and they will keep changing – keeping a track of estimates and invoices, managing your cashflow and then counting the pennies at the end of the event is hardly glamorous. But if the finances get all blocked up or don’t flow in the right way, the smell will be pretty unpleasant and, in extreme cases you might even have to sell all your worldly possessions to sort out the mess.. Good budgeting is crucial to the long-term success of your festival and also your peace of mind. It’s not difficult, so long as you are careful and methodical. As your event grows, the financial numbers will obviously get bigger and some of the control issues get more complicated. But the principles remain the same. A growing festival will need to get the advice of an accountant, especially where tax matters are concerned.

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Barr-Melej, Patrick. „The Opening Set“. In Psychedelic Chile. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632575.003.0002.

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The book’s opening chapter takes the reader to the Piedra Roja rock music festival. It focuses on the voices and agency of those who gathered—many of them hippies—at that landmark event in Greater Santiago’s municipality of Las Condes during a three-day weekend in October 1970. One person in particular, Jorge Gómez Ainslie, is the chapter’s principal figure. His experiences and proclivities as a teenager point to why the festival happened, and the people and goings-on at Piedra Roja speak to the Chilean counterculture’s coalescence, attributes, and allure during the late sixties and early seventies.

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Waksman, Steve. „The Politics of Scale“. In Live Music in America, 418–77. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0009.

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The economy that grew around arena and stadium concerts sought to impose a level of predictability upon the staging of large-attendance music events that was lacking in the festival economy as it existed in the early 1970s. Arena rock was the cornerstone of a move to industrialize the production of live music that was unprecedented in its scope. This chapter seeks to understand how arena and stadium concerts worked, how such events were produced and how they exemplify a crucially important stage in the evolution of live music in the US. The sheer dollar amounts at stake in arena concerts of this era far surpassed anything that been generated before, one result of which was a particular set of entangling relationships within which promoters, artists, managers, agents, and other figures all negotiated to gain what they believed to be their fair share. If money was at the root of a charged mode of competitive enterprise, it also underpinned peculiar efforts to give the “people”—that is, the audience—a performance that somehow matched the value of a ticket price. Thus, the imperative to put on a “show” intensified throughout the 1970s and forward, which manifested in a whole other set of complex relationships between sound engineers, stage designers, and others who worked in collaboration with the artists to make concerts that were visually and sonically compelling but could also be transported and re-created at every stop along the way.

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Milward, John. „The “Birth” of Americana“. In Americanaland, 210–27. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0016.

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This chapter looks at Alison Krauss, who began playing classical violin at the age of five years and turned to bluegrass after winning her first fiddle contest aged eight. Krauss won her first Grammy Award for the title song of her 1990 album I've Got That Old Feeling. By 2019, she had won twenty-seven Grammys, fourteen of them with Union Station. Krauss's success was an anomaly in the relatively cloistered world of bluegrass, where the big time meant a contract with an independent label such as Rounder or Sugar Hill and gigs at the Telluride Bluegrass Festival and Merlefest, an annual roots music event in North Carolina. Festival attendees often bring their own instruments for campground jam sessions, while the pros network backstage. That was how Krauss became acquainted with Nickel Creek, a young bluegrass trio consisting of Chris Thile (mandolin) and siblings Sara Watkins (fiddle) and Sean Watkins (guitar). Krauss produced the trio's self-titled 2000 album, an influential success that, though grounded in bluegrass, also incorporated elements of jazz, classical, folk, and rock. Americana lived in this music, and the young players would become stars of the new genre.

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Konferenzberichte zum Thema "Rock al Parque (Music festival)"

Thongrom, Pimpika. „The effect of Music Festivals on Perceived Destination Images“. In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festival in Thailand and to examine the perception of tourists towards destination image influenced by music festival.Music festivals in Thailand have been studied and 5 music festivals were chosen as the research settings. The documentary study was used to examine the 5 music festivals. Then the semi-structured interviews were conducted with tourists who have visited at least one of the five selected music festivals. The qualitative data are analysed using thematic analysis.The findings show that the destination images are influenced by the music festivals. The perceived images of the destination may similar to the existing images, while some may differ and transferable. The findings also show that the participants perceiveimages of the place differently during the music festival. The results can be applied to destination marketer in order to create or shape the destination images.

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