Relevant bibliographies by topics / Cross-cultural music

Academic literature on the topic 'Cross-cultural music'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Cross-cultural music"

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Park, So Yeon, Kyung Yun Lee, and Jin Ha Lee. "Cross-Cultural Exploration of Music Sharing." Proceedings of the ACM on Human-Computer Interaction 6, CSCW2 (November 7, 2022): 1–28. http://dx.doi.org/10.1145/3555108.

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Music sharing is a common social activity that people have long engaged in, from gifting mixtapes to sharing music links. Our practices around sharing music have shifted markedly with the advent of streaming music platforms and social media, and it has remained an important part of our social fabric. Yet there is a dearth of research on how people share music today, and our understanding of attitudes and practices of sharing music across cultures is even more lacking. To understand how people across cultures engage in music sharing, we have conducted interviews with 32 participants from two cultures: South Korea and United States. Through qualitative analysis, we found largely three reasons why people share music, types of music shared, strategy factors considered when sharing music, outcomes achieved, and challenges people experience when sharing music. We present a framework of music sharing that visualizes these components of the music sharing process. From these results, we identify similarities and differences that emerged. We derive design implications for music sharing platforms including providing varied avenues for feedback on shared music, motivating users to share more, and helping users to better manage shared music.
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Gourlay, K. A., Robert Falck, and Timothy Rice. "Cross-Cultural Perspectives on Music." Ethnomusicology 30, no. 3 (1986): 600. http://dx.doi.org/10.2307/851615.

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Palmer, Anthony. "On Cross-Cultural Music Education." Journal of Music Teacher Education 4, no. 1 (September 1994): 19–24. http://dx.doi.org/10.1177/105708379400400105.

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Jacoby, Nori, Elizabeth Hellmuth Margulis, Martin Clayton, Erin Hannon, Henkjan Honing, John Iversen, Tobias Robert Klein, et al. "Cross-Cultural Work in Music Cognition." Music Perception 37, no. 3 (February 1, 2020): 185–95. http://dx.doi.org/10.1525/mp.2020.37.3.185.

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Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of “music” and “culture.”
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Higgins, Kathleen Marie. "Apollo, Music, and Cross-Cultural Rationality." Philosophy East and West 42, no. 4 (October 1992): 623. http://dx.doi.org/10.2307/1399672.

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Trehub, Sandra E., Judith Becker, and Iain Morley. "Cross-cultural perspectives on music and musicality." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140096. http://dx.doi.org/10.1098/rstb.2014.0096.

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Musical behaviours are universal across human populations and, at the same time, highly diverse in their structures, roles and cultural interpretations. Although laboratory studies of isolated listeners and music-makers have yielded important insights into sensorimotor and cognitive skills and their neural underpinnings, they have revealed little about the broader significance of music for individuals, peer groups and communities. This review presents a sampling of musical forms and coordinated musical activity across cultures, with the aim of highlighting key similarities and differences. The focus is on scholarly and everyday ideas about music—what it is and where it originates—as well the antiquity of music and the contribution of musical behaviour to ritual activity, social organization, caregiving and group cohesion. Synchronous arousal, action synchrony and imitative behaviours are among the means by which music facilitates social bonding. The commonalities and differences in musical forms and functions across cultures suggest new directions for ethnomusicology, music cognition and neuroscience, and a pivot away from the predominant scientific focus on instrumental music in the Western European tradition.
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Rose, Tara. "Music Therapy Clinical Trials in Cross-Cultural Settings." Innovation in Aging 4, Supplement_1 (December 1, 2020): 930. http://dx.doi.org/10.1093/geroni/igaa057.3411.

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Abstract Music therapy in clinical trials has shown efficacy as a nonpharmacological intervention for multiple medical conditions and procedures. Every culture has music and virtually everyone on this globe enjoys music suggesting the universality of music therapy. However, in the US, most music therapy clinical trials participants are English-speaking Caucasians. That narrow pool limits our understanding of the benefits of music in an ethnically and culturally heterogeneous nation. This study looks to the international clinical trials for lessons and information that can advance U.S. studies by expanding the methodology and clinical reach to benefit a more extensive population of patients. A review of 449 studies in 48 countries from clinical trials registries supports an effort to expand music therapy studies and interventions by incorporating a cross-cultural perspective. Researchers and clinicians using international resources can increase their understanding and capacity. Globally, many standardized measures have been translated, including self-report measures of behavioral and mental health, pain, sleep, medical conditions, and symptom severity used for outcome measures, as well as music therapy measures and intervention checklists. Scientifically accepted physiological outcome measures have shown the benefits of music interventions for older adults regardless of cultural or ethnic differences. For example, neuroimaging research supports the clinically derived notion that music can address needs of people with dementia. The future will require new standards for multi-cultural research. To expand studies and methodologies, we need to include more diverse populations. This paper proposes that to do that, we must look to the global scientific community.
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Tsou, Judy, and Ellen Koskoff. "Women and Music in Cross-Cultural Perspective." Notes 45, no. 3 (March 1989): 515. http://dx.doi.org/10.2307/940811.

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DjeDje, Jacqueline Cogdell, and Ellen Koskoff. "Women and Music in Cross-Cultural Perspective." Ethnomusicology 33, no. 3 (1989): 514. http://dx.doi.org/10.2307/851772.

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Morrison, Steven J., Steven M. Demorest, Elizabeth H. Aylward, Steven C. Cramer, and Kenneth R. Maravilla. "FMRI investigation of cross-cultural music comprehension." NeuroImage 20, no. 1 (September 2003): 378–84. http://dx.doi.org/10.1016/s1053-8119(03)00300-8.

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Dissertations / Theses on the topic "Cross-cultural music"

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Tian, Mi. "A cross-cultural analysis of music structure." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24782.

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Music signal analysis is a research field concerning the extraction of meaningful information from musical audio signals. This thesis analyses the music signals from the note-level to the song-level in a bottom-up manner and situates the research in two Music information retrieval (MIR) problems: audio onset detection (AOD) and music structural segmentation (MSS). Most MIR tools are developed for and evaluated on Western music with specific musical knowledge encoded. This thesis approaches the investigated tasks from a cross-cultural perspective by developing audio features and algorithms applicable for both Western and non-Western genres. Two Chinese Jingju databases are collected to facilitate respectively the AOD and MSS tasks investigated. New features and algorithms for AOD are presented relying on fusion techniques. We show that fusion can significantly improve the performance of the constituent baseline AOD algorithms. A large-scale parameter analysis is carried out to identify the relations between system configurations and the musical properties of different music types. Novel audio features are developed to summarise music timbre, harmony and rhythm for its structural description. The new features serve as effective alternatives to commonly used ones, showing comparable performance on existing datasets, and surpass them on the Jingju dataset. A new segmentation algorithm is presented which effectively captures the structural characteristics of Jingju. By evaluating the presented audio features and different segmentation algorithms incorporating different structural principles for the investigated music types, this thesis also identifies the underlying relations between audio features, segmentation methods and music genres in the scenario of music structural analysis.
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Oppenheim, Michael Hale. "Cross-cultural pedagogy in North Indian classical music." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43062.

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This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted with the state of education in Indian music in cross-cultural contexts in the West. From this data a model of the essential elements of Indian pedagogy is synthesized. This model accounts for pedagogical devices utilized to impart musical information as well as methods of transmitting cultural and social values. This model is applied to the experiences of five North American students of Hindustani music interviewed during the research process for this thesis.
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Balkwill, Laura-Lee. "Perception of emotion in music a cross-cultural investigation /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0035/MQ27332.pdf.

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Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.

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The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in Ontario's music curriculum, (b) students receive non-Western music with enthusiasm, and (c) if taught responsibly, learning music from non-Western cultures can expand individual students' musical and cultural horizons, help eliminate stereotypes and discrimination in society, and possibly elevate the status of music education in schools.
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Palmer-Quay, Dianne M. "Developing indigenous hymnody an annotated bibliography for cross-cultural workers /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Gaines, Joseph Harry. "Music as socio-cultural behavior : implications for cross-cultural education. A case study /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10858209.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Sponsor: William C. Sayres. Dissertation Committee: Mara̕ E. Torres. Bibliography: leaves 143-162.
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Q, Claire Elizabeth. "Machine learning analysis of the cultural and cross-cultural aspects of beauty in music." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/e04430bd-f38f-4f67-a914-351159fb5b97.

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Can machine learning algorithms be trained to recognise beauty in music? To what extent is human recognition of beauty in music cultural, or crosscultural? Music is prevalent in all human cultures. Music information retrieval is a growing eld in which computational techniques have been applied to many musical problems such as genre recognition and measuring musical similarity. Computational ethnomusicology is rarer because the acquisition of non-Western music is di cult. Beauty in music has been little investigated with scienti c methods, though there are some examples on which this thesis builds. The e ect of timbral and 12-step chroma audio features, and a wide variety of di erent machine learning algorithms techniques were tested, with the combination of all the MARSYAS features and Support Vector Machines performing well. Predicting beauty was rst investigated with a small Last.fm set and later with a larger world music survey with Singaporean participants. Beauty was predicted based on a small selection of Last.fm tags with good accuracy. Beauty ratings from the survey, conducted in Singapore, were predictable by machine learning using similar methods. Predicting the geographical origin of world music from audio features was attempted. Some promising results emerged, and novel methods for predicting points on the surface of the Earth were developed. An investigation into the link between beauty ratings and location was conducted. The Singaporean beauty ratings were predicted from audio content, geographic content and a combination of both, showing strong correlations between longitude, distance, and timbral features with the beauty ratings, which were statistically very closely linked with distance from Singapore. From this beauty in music is concluded to be culturally related and timbre is shown to be a good pointer to cultural differences.
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Athanasopoulos, Georgios. "Scoring sounds : the visual representation of music in cross-cultural perspective." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7799.

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This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters.
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Barradas, Gonçalo. "A Cross-Cultural Approach to Psychological Mechanisms Underlying Emotional Reactions to Music." Doctoral thesis, Uppsala universitet, Institutionen för psykologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-314870.

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Music plays a crucial role in everyday life by enabling listeners to seek individual emotional experiences. To explain why such emotions occur, we must understand the underlying process that mediates between surface-level features of the music and aroused emotions. This thesis aimed to investigate how musical emotions are mediated by psychological mechanisms from a cross-cultural perspective. Study I manipulated four mechanisms by selecting ecologically valid pieces of music that featured information relevant for each mechanism. The results suggested that listeners’ emotions could be successfully predicted based on theoretically based manipulations of target mechanisms. However, Study I featured only listeners from a single culture, neglecting the possible role of contextual and individual factors. Study II investigated the prevalence of emotions, mechanisms, and listening motives in a web survey featuring listeners from both individualist and collectivist countries. Results indicated that patterns of prevalence of emotions and mechanisms were quite similar across cultures. Still, Study II found that certain emotions such as nostalgia and the mechanism episodic memory were more frequent in collectivist cultures. In contrast, sadness and the mechanism musical expectancy were more frequent in individualist cultures. Study II also suggested that listening motives were country-specific, rather than subject to the individualism-collectivism dimension. Study III explored how particular mechanisms are manifested within a collectivist cultural setting with great potential for deeply felt emotions: fado music in Portugal. Interviews with listeners provided in-depth information on how the cultural context might shape listening motives and emotions. The results revealed that listeners strived for musical experiences that would arouse culturally valued emotions. Music-evoked nostalgia and contextual factors were regarded as important and contributed to an enhanced sense of wellbeing. Study IV tested the influence of lyrics on the emotions induced by Swedish and Portuguese pieces of music. The results revealed cross-cultural differences in how lyrics influenced emotions. The differences were not related to the music’s origin, but to the listener’s origin, suggesting that the impact of lyrics depends on the cultural background of the listener. In conclusion, the thesis suggests that cultural factors serve as moderators of effects of biologically based mechanisms for emotion induction.
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Williams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.

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‘Valuing Jazz: Cross-cultural Comparisons of the Classical Influence in Jazz’ re-examines the interaction of Western classical music and jazz, focussing particularly on developments in North America and Britain in the twentieth century. This dissertation acknowledges and builds on the existing connections that have been drawn between classical music and jazz—both those that underscore the musical differences between the two idioms in order to discredit the latter, and those that acknowledge similarities in order to claim cultural legitimacy for jazz. These existing studies almost universally use outdated evaluative criteria, and I seek to redress this by using contemporary classical-music practices and discourses as my point of reference. By adopting a range of methodologies to investigate both intra- and extra-musical trends, this dissertation offers a thorough and balanced exploration of the topic. Each chosen avenue for exploration is explained with reference to parallel developments in North America, in order to provide a context within accepted jazz history and to highlight the different ways in which jazz developed in Britain. The phenomena under consideration include the emergence of a school of jazz criticism and scholarship that adopted systems of analysis and evaluation from established studies of classical music (Ch. 1); physical characteristics of jazz performance venues and the changing styles of audience reception within (Ch. 2); the adoption by jazz composers of ideologies and musical features from classical repertoire (Ch. 3); and the development of educational establishments and pedagogical systems that mirrored those already present in the classical-music world (Ch. 4). Although by no means exhaustive, these chapter topics provide a range of jazz narratives that provide a clear picture of the degree to which the development of jazz in America and Britain has been conditioned by the practices and characteristics of classical music.
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Books on the topic "Cross-cultural music"

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Schmid, Will. World music drumming: A cross-cultural curriculum. Milwaukee, WI: Hal Leonard, 1998.

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1943-, Koskoff Ellen, ed. Women and music in cross-cultural perspective. Urbana: University of Illinois Press, 1989.

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1943-, Koskoff Ellen, ed. Women and music in cross-cultural perspective. New York: Greenwood Press, 1987.

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Analytical and cross-cultural studies in world music. New York: Oxford University Press, 2011.

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Tenzer, Michael, and John Barlow Roeder. Analytical and cross-cultural studies in world music. New York: Oxford University Press, 2011.

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Aboriginal music, education for living: Cross-cultural experiences from South Australia. St. Lucia, Qld: University of Queensland Press, 1985.

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Rouse, Marilyn A. Jamaican folk music: A synthesis of many cultures. Lewiston [N.Y.]: Edwin Mellen Press, 2000.

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Fridy, Sandra V. Music scholarship guide. Reston, VA: Music Educators National Conference, 1991.

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Cox, Gordon. The origins and foundations of music education: Cross-cultural historical studies of music in compulsory schooling. New York: Continuum, 2011.

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The origins and foundations of music education: Cross-cultural historical studies of music in compulsory schooling. London: Continuum, 2010.

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Book chapters on the topic "Cross-cultural music"

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Wu, Yongmeng, Nick Bryan-Kinns, Wei Wang, Jennifer G. Sheridan, and Xiang Xu. "Designing a Cross-Cultural Interactive Music Box Through Meaning Construction." In Cross-Cultural Design, 241–57. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57931-3_20.

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Mao, Mao, and Pei-Luen Patrick Rau. "EEG-Based Measurement of Emotion Induced by Mode, Rhythm, and MV of Chinese Pop Music." In Cross-Cultural Design, 89–100. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07308-8_9.

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Thompson-Bradshaw, Adriane, and Margaret Cullen. "Gospel Music: Cultural Artifact or Cross-Cultural Opportunity?" In Exploring, Experiencing, and Envisioning Integration in US Arts Education, 191–204. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71051-8_13.

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Athanasopoulos, George. "Musical Imagery From a Cross-Cultural Methodological Perspective." In Music and Mental Imagery, 123–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429330070-13.

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Tosaki, Eiichi. "Mondrian’s Rhythm and Contemporary Music (His Music Peers)." In Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, 105–41. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-1198-0_4.

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Naveda, Luiz, Isabel C. Martínez, Javier Damesón, Alejandro Pereira Ghiena, Romina Herrera, and Manuel Alejandro Ordás. "Cross-Cultural Comparisons of Unconstrained Body Responses to Argentinian and Afro-Brazilian Music." In Music, Mind, and Embodiment, 464–82. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_30.

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Tosaki, Eiichi. "Concepts of Rhythm in Music, Philosophy and Painting." In Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, 143–77. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-1198-0_5.

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Taouma, Olivia. "Cross-Cultural Education in Dance and Song in Aotearoa and Sāmoa." In Intersecting Cultures in Music and Dance Education, 247–63. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28989-2_14.

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Soleo-Shanks, Jenna. "Resurrecting Callimachus: Pop Music, Puppets, and the Necessity of Performance in Teaching Medieval Drama." In Teaching Medieval and Early Modern Cross-Cultural Encounters, 199–213. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137465726_12.

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Ghosh, Dipak, Ranjan Sengupta, Shankha Sanyal, and Archi Banerjee. "Genesis of Universality of Music: Effect of Cross Cultural Instrumental Clips." In Musicality of Human Brain through Fractal Analytics, 117–43. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6511-8_6.

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Conference papers on the topic "Cross-cultural music"

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Nettamo, Esa, Mikko Nirhamo, and Jonna Häkkilä. "A cross-cultural study of mobile music." In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228193.

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Hu, Xiao, and Yi-Hsuan Yang. "Cross-cultural mood regression for music digital libraries." In 2014 IEEE/ACM Joint Conference on Digital Libraries (JCDL). IEEE, 2014. http://dx.doi.org/10.1109/jcdl.2014.6970230.

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"Cross-cultural Similarities and Differences in Music Mood Perception." In iConference 2014 Proceedings: Breaking Down Walls. Culture - Context - Computing. iSchools, 2014. http://dx.doi.org/10.9776/14081.

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Brinkman, Andrew, and David Huron. "Cross-Cultural Corpus Creation and Statistical Tendencies in Music." In DLfM '21: 8th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3469013.3469016.

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Fogarty, Mary. "Sharing hip hop dance: Rethinking taste in cross-cultural exchanges of music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.17.

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Chen, Yi-Wei, Yi-Hsuan Yang, and Homer H. Chen. "Cross-Cultural Music Emotion Recognition by Adversarial Discriminative Domain Adaptation." In 2018 17th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2018. http://dx.doi.org/10.1109/icmla.2018.00076.

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Ganguli, Kaustuv Kanti, Oscar Gomez, Leonid Kuzmenko, and Carlos Guedes. "Developing immersive VR experience for visualizing cross-cultural relationships in music." In 2020 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2020. http://dx.doi.org/10.1109/vrw50115.2020.00086.

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Bortz, Brennon, Javier Jaimovich, and R. Benjamin Knapp. "Cross-Cultural Comparisons of Affect and Electrodermal Measures While Listening to Music." In 2019 8th International Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2019. http://dx.doi.org/10.1109/acii.2019.8925476.

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Zhang, Zongxia, Lingyun Xie, and Zhijun Zhao. "Temporal Integration of Emotion Perception for Cross-Cultural and Multi-Emotion Music." In 2021 International Conference on Culture-oriented Science & Technology (ICCST). IEEE, 2021. http://dx.doi.org/10.1109/iccst53801.2021.00050.

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Sengupta, Sourya, Sayan Biswas, Shankha Sanyal, Archi Banerjee, Ranjan Sengupta, and Dipak Ghosh. "Quantification and categorization of emotion using cross cultural music: An EEG based fractal study." In 2016 2nd International Conference on Next Generation Computing Technologies (NGCT). IEEE, 2016. http://dx.doi.org/10.1109/ngct.2016.7877512.

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Reports on the topic "Cross-cultural music"

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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