Journal articles: 'Jazz-Festival'

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Medbøe, Haftor, and Diane Maclean. "Islay Jazz Festival." Jazz Research Journal 12, no. 2 (December 13, 2019): 213–36. http://dx.doi.org/10.1558/jazz.40304.

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Christiani, Jessica. "Perspektif Bisnis Dalam Prambanan Jazz Festival Yogyakarta." PROMUSIKA 10, no. 2 (December 3, 2022): 113–22. http://dx.doi.org/10.24821/promusika.v10i2.7354.

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Prambanan Jazz sebagai salah satu festival musik skala internasional. Prambanan Jazz tergolong dalam kategori festival musik profit. Secara eksplisit festival Prambanan Jazz dapat dilihat melalui deretan musisi popular yang dihadirkan, pemberian harga tiket yang cukup mahal, serta terlibatnya pihak sponsorship dalm acara. Prambanan Jazz merupakan fenomena sosial adalah salah satu festival musik yang berhasil memperoleh loyalitas dan animo masyarakat. Fakta di lapangan seputar euphoria masyarakat menyambut hadirnya Prambanan Jazz dengan bukti dari penjualan tiket yang habis terjual dan meningkatnya antusias penonton dari tahun ke tahun. Studi tentang sebuah festifal seperti Prambanan Jazz ini dilakukan untuk mengupas dimensi bisnis dari pertunjukan musik dalam bentuk festival dan mengungkap perspektif bisnis tim pengelola. Tujuannya penelitian adalah untuk mengetahui kacamata tim promotor dalam mengelola sisi bisnis Prambanan Jazz, serta strategi dibalik kesuksesan festival. Metode studi yang digunakan adalah kualitatif deskriptif. Data yang dikumpulkan melalui wawancara dengan 4 orang narasumber yang merupakan tim inti pengelola. Hasil temuan penelitian ini menunjukkan terdapat dua pilar utama bisnis yang ada dalam Prambanan Jazz Yogyakarta. Pilar pertama adalah bisnis pertunjukan musik yang meliputi konsep dan konten yang dihadirkan dalam festival. Pilar kedua adalah tentang bisnis di dalam venue. Pengelolaan Prambanan Jazz Yogyakarta cenderung menggunakan strategi win win solution, serta strategi kurasi musik demi mendukung optimalisasi penyelenggaraan festival.AbstractBusiness Perspectives in Prambanan Jazz Festival Yogyakarta. As one of the international scale music festivals, Prambanan Jazz belongs to the category of profit music festivals. This can be seen explicitly through the rows of popular musicians presented, the ticket prices are quite expensive, and the involvement of sponsors in the event. The social phenomenon where Prambanan Jazz Festival has become one of the festivals that has managed to gain the loyalty and interest of the community cannot be avoided. Facts on the ground regarding the community's euphoria welcoming Prambanan Jazz Festival 's presence, to the fact that tickets were sold out, and the increasing enthusiasm of the audience from year to year are proof that this festival has succeeded in winning the hearts of the public.This study was conducted to explore the business dimension of this festival and reveal the business perspective of the management team. The aim is to find out the perspective of the promoter team in managing the business side of Prambanan Jazz, as well as the strategy behind the success of this festival. The study method used is descriptive qualitative. Data was collected through interviews with 4 informants who are the core management team. The findings of this study indicate that there are two main business pillars in Prambanan Jazz Festival. The first pillar is the music show business which includes the concept and content presented at the festival. The second pillar is about the business within the venue. In its management, it tends to use a win win solution strategy and music curation strategy to support the optimization of the festivalKeywords: Music Festival; Prambanan Jazz; Business

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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.

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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.

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Handyastuti, Indriyani, Dwiesty Dyah Utami, and Vanda Nirma Audita. "LOCAL COMMUNITIES PERCEPTION ON THE IMPACT OF PRAMBANAN JAZZ FESTIVAL." Journal of Indonesian Tourism, Hospitality and Recreation 3, no. 2 (October 29, 2020): 103–16. http://dx.doi.org/10.17509/jithor.v3i2.28568.

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The development of the organization of the event now starts to vary and provides a valuable and impressive experience for many people. So, from that along with its development, the event appeared increasingly unique both in terms of concept to the venue used. One of the events that have its uniqueness is the festival. In this case, the Prambanan Jazz Festival is one of the types of events that are used as the focus of research. Organizing an event can have an impact on the surrounding community, both in terms of social, environmental, and economical. Communities in the surrounding environment will have different perceptions about the impact of the event. An event can be considered as successful if the community perceives the positive benefit from the event and give considerable support. The research method used in this study is quantitative with descriptive analysis. The purpose of this study was to find out how local people perceive the impact of the implementation of Prambanan Jazz Festival on social, environmental, and economic impacts. The result of this study indicates that the Prambanan Jazz Festival had a little social impact on local communities. The Prambanan Jazz Festival does not provide significant environmental impact from some of the main aspects of this study. In addition, the implementation of the Prambanan Jazz Festival has not affected the economy around the event area due to the absence of programs made by the event organizers to support the economy of the surrounding community.Keywords: Local Communities Perception, Prambanan Jazz Festival, The Impact of Event

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Oakes, Steve. "Profiling the jazz festival audience." International Journal of Event and Festival Management 1, no. 2 (July 16, 2010): 110–19. http://dx.doi.org/10.1108/17852951011056892.

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Deschênes, Bruno. "The Montreal International Jazz Festival." Popular Music 19, no. 2 (April 2000): 253–55. http://dx.doi.org/10.1017/s0261143000000155.

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The Festival International de Jazz de Montréal (Montreal International Jazz Festival), which celebrated its twentieth anniversary in 1999, has become one of the most popular music festivals in the world, attracting in just twelve days more than a million and a half people. Most visitors are Canadians and Americans, but Europeans are attending in greater numbers each year.The first Festival, held in the summer of 1979, lasted less than a week. Since then, it has progressively expanded and has moved from one site to another several times to accommodate the growing number of visitors. At its current site in downtown Montreal, in the neighbourhood of the Place des Arts, it now lasts a full twelve days. In 1998, thirty-six concert series and two film series were offered for a total of 411 events. Of these, 103 were paying concerts, and 298 were free concerts held for the most part out of doors. Jazz presented in more than twelve bars all over the city also forms part of the event.From noon to 6 pm, a free outdoor concert is held every hour. From 6 pm to midnight, two more free concerts are performed simultaneously. During the day, street bands give strollers a taste of a wide range of musical styles. For more than twelve hours the public can hear music nonstop by moving from one venue to the other. The downtown site is big enough to avoid the overlapping of music from simultaneous performances. At the end of the afternoon and in the evening, Festival-goers can enjoy the indoor paying concerts.

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Vijayantara Putra, I. Gde Made Pandu, and Putu Sandra Devindriati Kusuma. "Perencanaan Manajemen Seni Pertunjukan Ubud Village Jazz Festival." Journal of Music Science, Technology, and Industry 6, no. 1 (April 30, 2023): 51–63. http://dx.doi.org/10.31091/jomsti.v6i1.2418.

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Purpose: This article aims to find out how to plan the management of performing arts at the Ubud Village Jazz Festival. Management is the main thing in every performing arts performance starting from pre-production to post-production. Method: The method used in this writing is a qualitative method with a descriptive presentation. Data obtained by interviews and literature review, which will then be analyzed through triangulation from raw data collection, selection, processing to drawing conclusions. Results and discussion: The Ubud Village Jazz Festival was made out of concern, where the founder felt that there was a period of jazz music that had been forgotten and caused the loss of the true identity of jazz music. The findings in this article show that management planning is carried out by setting goals, designing budgets, looking for sponsors by looking at previous year's activities, making timelines, deadlines, job descriptions, hiring outsourcing and recruiting volunteers to support the achievement of the goals of UVJF activities. Implication: Good management planning for the Ubud Village Jazz Festival is also a means to educate the public about jazz music, help the economy of the surrounding community in Ubud, and more than that to show the identity of the jazz festival.

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Faria, Erick de Oliveira, Victor Pouillaude, Valentine Crépel, and Manuella Biagioni Barbosa Teixeira. "Tourist Festivals and Territorial Development: a case study on the Jazz in Marciac Festival." Revista de Turismo Contemporâneo 8, no. 1 (April 30, 2020): 1–16. http://dx.doi.org/10.21680/2357-8211.2020v8n1id18098.

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From the year 1982, new possibilities were given to the spatial organization of the French territory. In these spaces, the actions of social groups are recognized. Therefore, the social group builds the territory but the environment in which it lives also influences it. This paper studies the case of the Jazz in Marciac festival as an example of territorial development associated with the dimension of the voluntary commitment of the population towards a common objective and a source of debate. This jazz festival takes place at the village of Gers, Marciac and is guided by the principles of popular education. Today it gives life to its territory through national and international recognition as one of the most recognized jazz festivals. This is why we decided to ask ourselves about the causes of success at the jazz festival in a French village. So the questions came out: what does this imply in terms of development at the scale of its surroundings? Why and how this festival contributed to authentic development to the extent of its territory. The territory of Marciac turned a music festival into a local development opportunity, by its strength for cultural tourism, the valuation of local heritage and the improvement of living conditions. So the festival has become a showcase for local productions and a driving force for regional planning, it improves cultural, social and economic aspects of its territory. Keywords: Jazz Festival. Territory Development. Cultural Tourism. Popular Education.

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Syah, Teuku Giara Gaesaro, and Elda Franzia Jasjfi. "ANALISIS ILUSTRASI BARONG PADA MEDIA PROMOSI JAVA JAZZ 2015." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 1 (April 1, 2017): 63–76. http://dx.doi.org/10.25105/jdd.v2i1.1878.

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AbstractThe development of music industry marked by the increasing number of the music event held nowadays. In terms of music festival that was held every year, the development of updates in social media which help publish those events. One of the biggest event held annually is Java Jazz Festival. Java Jazz Festival 2015 with the theme "Exploring Indonesia" with Barong Bali as it’s icon. Barong used as icon to represent the island of Bali that is full of culture and art. This theme became the purpose of the organizers who wanted to show Indonesian culture to international musicians. This paper explores the promotion media of Java Jazz Festival 2015 which used the barong illustrated in it. The method is visual element analysis. The result is that the Barong illustrated using vector techniques and using contemporary color tones. The successful existence of a brand cannot be separated from the company's success in communicating the culture and values of the company to the members of the organization. AbstrakPerkembangan industri musik saat ini ditandai dengan semakin banyaknya terselenggara acara musik. Ditinjau dari festival musik yang digelar setiap tahunnya, tidak luput dari perkembangan berita terkini di media sosial yang bantu mempublikasikan acara-acara tersebut. Salah satu event terbesar yang digelar setiap tahunnya yaitu Java Jazz Festival. Java Jazz Festival 2015 mengangkat tema “Exploring Indonesia” dengan Barong Bali sebagai ikonnya. Barong dijadikan ikon untuk merepresentasikan pulau Bali yang penuh dengan budaya dan seni. Tema ini menjadi maksud tujuan pihak penyelenggara yang ingin memperlihatkan budaya Indonesia kepada para musisi internasional. Makalah ini membahas media promosi Java Jazz Festival 2015 yaitu ilustrasi barong yang terdapat pada media promosi tersebut. Metode yang digunakan adalah analisis elemen visual. Hasil dari analisis adalah bahwa barong diilustrasikan dengan menggunakan teknik vektor dan menggunakan nada warna yang kekinian. Keberhasilan eksistensi suatu brand atau acara tidak dapat dipisahkan dari keberhasilan perusahaan dalam mengkomunikasikan budaya dan nilai-nilai yang dimiliki perusahaan kepada masyarakat.

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Aulia, Fithrotul, and Yessy Artanti. "Peran Festival Satisfaction sebagai variabel pemediasi pada pengaruh Festival Quality dan Positive Emotion terhadap Festival Loyalty para pengunjung Jazz Traffic Festival di kota Surabaya." Benefit: Jurnal Manajemen dan Bisnis 6, no. 2 (December 14, 2021): 49–71. http://dx.doi.org/10.23917/benefit.v6i2.13932.

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Abstrak - Industri festival musik mengalami perkembangan sejak tahun 2010 hingga kini ditandai dengan banyaknya festival musik yang mulai bermunculan secara rutin dilaksanakan setiap tahunnya atau hanya untuk seremonial tertentu. Penelitian ini bertujuan untuk menganalisis dan membahas pengaruh festival quality dan positive emotion terhadap festival loyalty dengan festival satifaction sebagai variabel mediasi pada pengunjung Jazz Traffic Festival di Jawa Timur. Penelitian ini menggunakan 200 responden dengan teknik non-probability sampling dan metode yang digunakan adalah judgemental sampling. Metode pengumpulan data dilakukan dengan menyebarkan kuesioner secara online. Teknik analisis data yang digunakan dalam penelitian ini adalah teknik analisi jalur (path analysis). Hasil penelitian menemukan bahwa festival quality dan positive emotion berpengaruh positif signifikan terhadap festival loyalty dan festival satisfaction terbukti sebagai varibel mediasi. Hasil penelitian ini menyarankan pihak penyelenggara Jazz Traffic Festival atau promotor festival musik lainnya untuk memperhatikan kualitas layanan festival dan emosi pengunjung yang terbentuk ketika mengunjungi suatu festival musik untuk meningkatkan kepuasan sehingga berdampak pada loyalitas terhadap festival tersebut.

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STORHOFF, TIMOTHY. "Music, Politics, and the Liminality of the Havana Jazz Plaza Festival in the Obama Era." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 70–91. http://dx.doi.org/10.1017/s1752196319000555.

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AbstractAfter the Obama administration (2009–17) began authorizing musical exchanges with Cuba in 2009, Havana's music festivals became a primary site for transnational interactions and a public face for US-Cuban engagement while politicians worked towards normalization in secret. This article uses field research from the Havana International Jazz Festival, interviews with festival participants, and media coverage to explore Cuban music festivals as politically liminal spaces where musical and political life commingled to reflect the changing US-Cuban relationship. While diverse lineups attracted international tourists, artists faced bureaucratic challenges to legally traverse the Florida Straits and create music in the context of intercultural dialogue. Despite these difficulties, Havana as a festival space encouraged musicians to defy genre conventions, explore cultural commonalities, and negotiate social differences on stage during the Havana Jazz Plaza Festival. These transnational interactions culminated in Arturo O'Farrill's album Cuba: The Conversation Continues, which was recorded by US and Cuban musicians in Havana during the 2014 jazz festival and is characteristic of festival exchanges in its representation of a more harmonious international relationship.

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Saayman, Melville, and Riaan Rossouw. "The Cape Town International Jazz Festival: More than just jazz." Development Southern Africa 27, no. 2 (June 2010): 255–72. http://dx.doi.org/10.1080/03768351003740696.

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Puspita, Nungky. "DEVELOPMENT STRATEGY OF MUSIC TOURISM : UBUD VILLAGE JAZZ FESTIVAL AS COMMUNITY-BASED EVENT IN UBUD, BALI." Journal of Tourism Destination and Attraction 9, no. 1 (March 19, 2021): 27–36. http://dx.doi.org/10.35814/tourism.v8i2.1886.

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Music Tourism is the specialization interest in tourism and this tourism increasing the tourist enthusiasm and attraction. This study describe the Ubud Village Jazz Festival which is the one of the International Music festival that held on Ubud, Bali and also the community-based international music festival . For the analysis, this study use SWOT analyses to make the strategy and the recommendation and also use Elements of Jazz Music Festival theory according to Racapong Khaiewpan. This study use the data from observation and literature study. This research focuses on music tourism attractions and local participation that collaborated in this special event. The results of this study are Ubud Village Jazz Music Festival fulfill the four elements of Jazz Music Festival, for the element of Music Tourism Management in Administrative Aspect this event have so many sponsorships with The Indonesian Creative Economy Agency (BEKRAF), Local brand and business and also with the local people to contributed. For the Music Tourism Management in Design Aspect, this event used Eco-friendly materials. For Marketing Aspect, Ubud Village Festival have sponsorhip with the local TV station to promoting the event. For the Operational Aspect, this event have the schedule and the rules. For Management in Risk Aspect this event have the preparation to discrease the risk for the uncertain weather. The management also advised the tourist to have some preparation to bring raincoat and umbrella because this event is an outdoor event. The local people involved in the whole aspect including the stage of planning, implementation, benefit receipt, monitoring and evaluation which they have done well and organized. Keyword: special event, music tourism, community participation, SWOT analyses

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Stewart, Jesse. "Passages on Passages: Some Reflections on the Creation of a Multimedia, Improvised, Jazz Opera." Canadian Theatre Review 112 (September 2002): 5–12. http://dx.doi.org/10.3138/ctr.112.001.

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In the summer of 1999, I was commissioned by the Guelph Jazz Festival to mount a large-scale work to be premiered at the 2000 edition of the Festival. The end result was Passages, a multi-media, improvised jazz opera that was premiered on 10 September, 2000 at the Macdonald Stewart Art Centre in Guelph. The present paper is intended primarily as an account of the processes involved in the creation of Passages as well as a discussion of what I see as some of the issues and implications surrounding the creation of a multimedia, improvised, jazz opera.

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Nurdiana, Almira, Disya Jauza Putri, Agus W. Soehadi, and Sri Widya Wijanarti. "Analisis Pengaruh Overall Experience Terhadap Memorable Tourism dan Revisit Intention." Global Research on Tourism Development and Advancement 2, no. 2 (July 15, 2020): 96–118. http://dx.doi.org/10.21632/garuda.2.2.96-118.

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Overall experience merupakan faktor penting dalam memprediksi pengalaman yang dikenang pengunjung, sehingga overall experience perlu dibangun supaya pengunjung dapat datang kembali kepada suatu festival. Tujuan penelitian ini yaitu untuk menganalisa pengaruh overall experience terhadap memorable tourism experience dan revisit intention dengan objek penelitian yaitu Java Jazz Festival. Sampel pada penelitian ini adalah 196 pengunjung Java Jazz Festival yang telah mengunjungi festival pada jangka waktu 3 tahun terakhir (2017, 2018, dan 2019) dengan teknik purposive sampling. Penelitian ini merupakan penelitian kuantitatif eksplanatif dengan analisis data menggunakan Structural Equation Model (SEM) dengan AMOS 24. Hasil dari penelitian ini menunjukkan 6 dimensi experience (entertainment, educational, esthetic, escapist, economic value, dan festivity) merupakan pengukur variabel overall experience. Overall experience mempengaruhi memorable tourism experience dan mempengaruhi revisit intention secara langsung.

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Ajduk, Marija, Ljubica Milosavljevic, and Ana Banic-Grubisic. "Music festivals as a space for construction of local identities on the example of the manifestation jazz in the garden." Muzikologija, no. 35 (2023): 37–52. http://dx.doi.org/10.2298/muz2335037a.

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Based on the several decades-old tradition of presenting jazz through festivals firstly in Yugoslavia, and consequently in Serbia, the Jazz in the Garden manifestation was founded in Belgrade in 2021. The name of the new festival apostrophises the location of the event - ?Jevremovac? Botanical Garden. With the anthropological analysis of this manifestation, we will strive to demonstrate how the manifestation in development like this one influences the construction process of one part of Belgrade?s identity through its connections with the local jazz scene. We will also consider the influence of the creation of different perceptions and new meanings of the well-known city space like the Botanical Garden ?Jevremovac? in which the festival is held.

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Formica, Sandro, and Muzaffer Uysal. "A Market Segmentation of Festival Visitors: Umbria Jazz Festival in Italy." Festival Management and Event Tourism 3, no. 4 (December 1, 1995): 175–82. http://dx.doi.org/10.3727/106527095792232523.

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Brown, Michele D., Turgut Var, and Seokho Lee. "Messina Hof Wine and Jazz Festival: An Economic Impact Analysis." Tourism Economics 8, no. 3 (September 2002): 273–79. http://dx.doi.org/10.5367/000000002101298115.

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The purpose of the study was to estimate the economic impact on Brazos County, Texas, of a proposed weekend Wine and Jazz Festival to be produced by Messina Hof Winery. An economic impact analysis was performed using IMPLAN PRO software. The 1998 value of the US dollar and average weekend festival visitor expenditure data from Messina Hof Winery were used as inputs into the model. The results indicated that this single event would generate $892,981 in total sales output, $324,942 in personal income and the equivalent of 21.8 jobs. The conclusion was that the weekend Wine and Jazz Festival proposed by Messina Hof Winery would have a significant positive economic impact on Brazos County.

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Kirchner, Bill. "The Night I Became a Jazz Musician." Journal of Jazz Studies 9, no. 2 (March 18, 2014): 186. http://dx.doi.org/10.14713/jjs.v9i2.67.

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Setiarini, Agnes Tika. "STRATEGI POSITIONING DAN DIFERENSIASI DALAM UPAYA MEMBANGUN BRAND, STUDI KASUS NGAYOGJAZZ." JURNAL TATA KELOLA SENI 1, no. 2 (May 8, 2017): 54–67. http://dx.doi.org/10.24821/jtks.v1i2.1641.

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Ngayogjazz adalah salah satu festival musik jazz yang diselenggarakan rutin setiap satu tahun sekali di Yogyakarta. Festival ini mengalami peningkatan jumlah penonton yang signifikan setiap tahunnya. Keberhasilan Ngayogjazz ini adalah salah satu hasil dari strategi pemasaran yang dijalankan. Strategi pemasaran yang baik akan menjadi penentu suksesnya pemasaran sebuah produk. Segitiga positioning, diferensiasi, brand (PDB) adalah salah satu pengembangan dari konsep pemasaran oleh Kertajaya. Teori ini dapat menjadi landasan untuk menentukan strategi positioning dan diferensiasi yang tepat bagi sebuah produk. Penelitian ini difokuskan pada penerapan teori segitiga PDB dalam Ngayogjazz. Metode penelitian menggunakan metode kualitatif pendekatan studi kasus. Pengumpulan data dilakukan melalui indepth interview. Hasil dari penelitian ini adalah rumusan upaya-upaya strategi positioning dan diferensiasi dalam festival Ngayogjazz. Kesimpulan yang dihasilkan, penerapan segitiga PDB dalam Ngayogjazz penting dilakukan agar penyelenggara mengetahui sejauh mana maksudnya tersampaikan pada masyarakat. Hasil dari analisis menggunakan segitiga PDB, Ngayogjazz telah membentuk sebuah brand sebagai festival musik jazz yang memiliki karakter kota Yogyakarta. Ngayogjazz is one of the jazz festivals held regularly in Yogyakarta. The number of audiences in this festival has increased significantly every year. The success of Ngayogjazz is one of the results of its marketing strategy. A good marketing strategy will determine the success of the product and will also build a strong brand for itself. Positioning, differentiation, and brand (PDB) is one of the developments of Kertajaya's marketing concept. PDB Triangle could be the basis for determining the appropriate positioning and differentiation strategies for a product. The research focuses on the application of PDB triangular theory in Ngayogjazz, using qualitative method with case study approach. Data is collected through in-depth interview. These methods can measure to which extent does Ngayogjazz applies marketing theory (in this case, positioning and differentiation). The results from this study is the formulation of positioning and differentiation strategy in Ngayogjazz festival. This study concludes that the application of the PDB triangle in Ngayogjazz is important so that the organizers know to which extent the intention is conveyed to the public. The results of the analysis using PDB triangle shows that Ngayogjazz has formed a brand as a jazz music festival that wears the characteristics of the city of Yogyakarta.

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Marga, Karyasih. "Public Space, Community, and Enjoyment in Music Festival: The experiences of 2019 Jazz Traffic Festival audience in Surabaya." Jurnal Media dan Komunikasi 2, no. 1 (October 26, 2021): 28. http://dx.doi.org/10.20473/medkom.v2i1.29358.

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This research focuses on the visitors' experience of the Jazz Traffic Festival (JTF) 2019 in Surabaya. This research then aims to know how the experience gained by the visitors in JTF with the genre expansion was incorporated despite its title as Jazz music Performances. This research uses case study method and descriptive-qualitative approach. The data in this research is obtained by observation and independent-interviews with four informants as visitors of JTF. The results of this study showed that each JTF visitors have a different experience due to the preference and purpose of attending the festival. JTF becomes a public space for visitors who are part of the urban community for several reasons. The visitors attend JTF for the entertainment, to escape from the routine, to build social interactions, and to actualize self-identity. in addition, the innovative effort of JTF in maintaining its existence by expanding to non-jazz music and market was apparently still enjoyed by the visitors.

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Burland, Karen, and Stephanie E. Pitts. "Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival." Journal of New Music Research 39, no. 2 (June 2010): 125–34. http://dx.doi.org/10.1080/09298215.2010.493613.

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Denson, Louise. "Perspectives on the Melbourne International Women's Jazz Festival." Jazz Research Journal 8, no. 1-2 (April 20, 2015): 163–81. http://dx.doi.org/10.1558/jazz.v8i1-2.26774.

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Arohmi, Yolanda Saftriliani Fadilah. "Peran Modal Intelektual Sumber Daya Manusia dalam Pengelolaan Festival yang Berkelanjutan (Studi Kasus Festival Ngayogjazz)." JURNAL TATA KELOLA SENI 5, no. 1 (August 5, 2019): 19–28. http://dx.doi.org/10.24821/jtks.v5i1.3142.

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Abstrak Penelitian ini dilatarbelakangi pengelolaan sebuah festival jazz yang dapat terselenggara di setiap tahunnya dengan konsep yang menarik yaitu diselenggarakan di desa-desa yang ada di Daerah Istimewa Yogyakarta. Penelitian mengenai Modal Sumber Daya Manusia Dalam Pengelolaan Festival yang Berkelanjutan. Studi Kasus Festival Ngayogjazz ini bertujuan untuk menjelaskan peran modal intelektual sumber daya manusia (mencakup pemimpin dan anggota organisasi)dalam pengelolaan Festival Ngayogjazz yang berkelanjutan. Adapun permasalahan dari penelitian ini adalah tentang proses membangun dan mengelola modal intelektual SDM yang merupakan aset tak berwujud yang dimiliki Organisasi Festival Ngayogjazz. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi kasus. Adapun teknik yang digunakan adalah teknik wawancara semi terstruktur kepada direktur Festival Ngayogjazz. Hasil penelitian menjelaskan bahwa proses membangun dan mengelola modal intelektual SDM pada Organisasi Festival Ngayogjazz dilakukan dengan cara organik, dalam artian semua pengelolaannya berbasis pada asas kekeluargaan dan ciri khas Yogyakarta dalam hal bertukar pikiran sampai dengan mengambil keputusan. Abstract This research is based on the processing of a jazz festival that can be held annually with an interesting concept which is held in the villages in Yogyakarta. Research on human resources in sustainable festival management. This research of Ngayogjazz festival aims to explain the role of intellectual capital of human recourses (include leaders and members of the organization) in managing sustainable Ngayogjazz festival. As the problems of this research are about the process of building and managing intellectual property of human resources which are intangible assets owned by Ngayogjazz festival. This research used qualitative with a study approach. The technique that used is the semi-structured interview to the director of Ngayogjazz. The result of the study explained that the process of building and managing intellectual property resources in the Ngayogjazz organization was done in an organic way. all the management is based on the principle of family and characteristic of Yogyakarta in terms of exchanging ideas to making decision.

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Brumbach, Glen Alan. "COVID-19 Pandemic Effects on Student Efficacy in Jazz Performance and Improvisation in Secondary School Musicians." Jazz Education in Research and Practice 5, no. 1 (January 2024): 5–26. http://dx.doi.org/10.2979/jazzeducrese.5.1.03.

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Abstract: This study investigated the effects of the COVID-19 pandemic on secondary students' self-efficacy in jazz performance and improvisation. Students ( n = 38) from secondary-school jazz ensembles attending a jazz festival in a Southwest state participated in a questionnaire about their perception of achievement in jazz performance and improvisation during the 2020–2021 school year with COVID-19 restrictions in place and the year after when restrictions had been eased. Jazz ensemble directors ( n = 8) were interviewed about their experiences and positive and negative outcomes of the two years pertaining to students' self-efficacy. A paired two-tailed t-test revealed that students had a significantly higher self-efficacy perception after restrictions were lifted in jazz performance and improvisation. Directors reported increased competency with technology and a drop in enrollment in their jazz ensembles. Directors also experienced a shift in their educational philosophy, opting for a more empathetic as opposed to a results-based approach to student achievement.

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Fajriaty Muchlis, Nur Farah, Mia Rahayu, Renold Renold, and Masri Ridwan. "Spotlight on festival travellers: Profiles, Motivations, and Experiences of Dieng Culture Festival Travellers, Indonesia." Jurnal Ilmiah Poli Bisnis 16, no. 1 (April 30, 2024): 42–55. http://dx.doi.org/10.30630/jipb.v16i1.1352.

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The study found a change in the motivation of visitors to the festival. This study aims to identify visitors' memorable experiences related to tourist attractions at the Dieng Culture Festival, held from 2020 to 2022. The research was conducted using a quantitative-interpretative approach, with research instruments designed to determine visitors' profiles, purposes, and experiences. The sample size consisted of 398 respondents and 5 key informants. The research methodology involved data collection through online surveys and in-depth interviews with key informants. The research findings are presented below. Based on the respondents' characteristics, it can be inferred that most visitors to the Dieng Culture Festival are over 20 years old. The primary purpose of their visit was to experience and participate in the jazz music performances held above the clouds, as indicated by 271 respondents (67.9%). The most prominent attendees are private employees, with 143 respondents (38.5%), followed by students. Notably, 321 respondents (80.5%) learned about the Dieng Culture Festival online. The gender of visitors is dominated by women, with 177 (44.4%) male respondents, while the number of female respondents is 222 (55.6%). Jazz music above the clouds is a memorable programme because it represents visitors' needs. The commodification of the Ruwatan procession of cutting dreadlocks is needed to increase the impression for visitors and strengthen the image of local cultural recognition.

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Mross, Michaela. "Zen Chanting and Jazz at a Public Arts Festival." Journal of Chan Buddhism 2, no. 1-2 (December 28, 2021): 165–209. http://dx.doi.org/10.1163/25897179-12340009.

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Abstract This article explores ritual change and innovation based on my participation as a saxophone player in two rituals featuring traditional Buddhist chant and jazz, which were performed at the Sōtō Zen temple Tōkōji in Ōmiya (Saitama prefecture) during the Yume Arts Festival. In designing these ceremonies, the monks selected elements from traditional rituals and put them together in new ways, while adding new entertaining elements, such as jazz and yōkai. I suggest that the modularity of rituals made it possible to easily create new ceremonies and perform them without extensive rehearsals. Moreover, I show that the monks aimed to offer an entertaining performance in order to reach out to the local community. This article further illuminates that Sōtō Zen has a rich sonic dimension, which our crossover ceremonies showcased.

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Clarke, George Elliott. "Québécìté: A Libretto in Three Cantos (First Draft)." Canadian Theatre Review 112 (September 2002): 27–45. http://dx.doi.org/10.3138/ctr.112.006.

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Rezeky, Rialdo, and Nadya Sabrina. "Eksistensi Java Jazz Festival sebagai Event Musik di Indonesia." Nyimak: Journal of Communication 3, no. 2 (September 26, 2019): 157. http://dx.doi.org/10.31000/nyimak.v3i2.1745.

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Petr Kazimirovitch, Kornev. "Folklore and patriotic themes in Soviet jazz compositions of the 60-70s of the twentieth century." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 70–76. http://dx.doi.org/10.30725/2619-0303-2022-2-70-76.

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This article examines the influence of folklore on the works of Soviet jazz composers. Musicians, ensembles and jazz orchestras of various republics of the former USSR actively introduced into their repertoire both arrangements of folk songs and original pieces with a national flavor. An outsize proportion of improvisations in these compositions gave an extraordinary appeal to this music. Also, the article mentions the popularization of famous military songs by jazz bands and singers during the Second World War. Many famous world stars also replenished their repertoire with Russian melodies. Since the 50s, Russian composers have been paying increasing attention to the creation of plays with a folklore flavor. Such pieces bring popularity to jazz groups. This is facilitated by the development of the jazz festival movement in Moscow, Leningrad and the capitals of the Union republics. In conclusion, about the influence of folklore themes on the formation of the creativity of modern jazz performers.

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Golemo, Karolina. "Exploring and emphasising women’s voices at Sacrum Profanum festival in Krakow." Muzikologija, no. 35 (2023): 19–35. http://dx.doi.org/10.2298/muz2335019g.

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Sacrum Profanum festival stands as one of the prominent musical events in Krakow. The festival is recognised for its unique fusion of contemporary classical music with electronic sounds, jazz and other genres. Alongside its artistic and musical endeavours, the Sacrum Profanum festival remains dedicated to social issues, meticulously promoting gender balance in its lineup, and constantly contributing to the social debate about gender equality in the cultural sector in Poland. The main aim of this article is to analyse the presence of women during the 2020 edition of the festival, with special focus on the socio-cultural message conveyed by the female artists (composers and performers) that actively contributed to that edition.

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Saragih, Harriman Samuel. "Mining and exploring electronic word-of-mouth from Twitter: case of the Java Jazz Festival." Journal of Hospitality and Tourism Technology 12, no. 2 (May 6, 2021): 341–54. http://dx.doi.org/10.1108/jhtt-03-2020-0067.

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Purpose This paper aims to explore textual patterns in ten years of electronic word-of-mouth communications amongst social media (SM) users of the Java Jazz Festival. Design/methodology/approach This study uses a data-scraping technique to gather user-generated content from Twitter. Word-cloud and word-frequency analysis, along with descriptive coding and pattern matching, are used to categorise the initial findings. Trends and differences in terms of the number of tweets over a ten-year period were examined using analysis of variance and seasonality analysis. Findings From more than 1.3 million Twitter tweets between 2008 and 2018, this study identified six initial themes. Quantitative analysis revealed that the number of tweets differed significantly in the four quarters of the ten-year period. Research limitations/implications The results of this study contrast with the claim that digital media communication generally occurs before a festival begins and are least during the festival. Nevertheless, this study supports the notion that SM interaction results in positive consequences, drives conversations amongst users and increases engagement. Practical implications This study offers five practical implications for music festival organisers and related entities. Originality/value To the best of the author’s knowledge, this study is the first to provide a systematic and practical data mining and interpretation approach from Twitter within a ten-year period in the Asia Pacific context, through the case of the Java Jazz Festival.

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Bruckner-Haring, Christa. "The Development of the Austrian Jazz Scene and Its Identity 1960-1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5784.

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In Austria, a country steeped in music history and famous for composers such as Mozart, Haydn, and Bruckner, jazz was quick to earn a place in the cultural landscape. After World War II, important jazz scenes rapidly evolved in Vienna and Graz and, particularly from the 1960s onwards, grew into a strong and independent national jazz scene. Its musicians and ensembles focussed on developing their own characteristics and styles. This article examines primary aspects of the jazz scene during these formative years, such as the series of amateur jazz festivals held in the 1960s, Friedrich Gulda's commitment to jazz, Graz as a jazz centre and the institutionalisation of jazz at the Academy of Music in Graz in 1965, the role of the Austrian broadcasting network (ORF), and the impact of the Vienna Art Orchestra. In addition to archival records and musicological and journalistic texts, interviews conducted with members of different parts of the jazz scene offer important insights into the development of jazz during this period (with musicians, ensembles, educators and researchers, festival and venue organisers, agencies and policy makers, members of the media). This article offers an overview of pertinent aspects of the Austrian jazz scene between 1960 and 1980, revealing opinions about the influence of these aspects on the formation of Austrian jazz identity.

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Gottschalk, Kurt. "Borealis Festival, Bergen." Tempo 70, no. 278 (September 28, 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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Dennen, James. "On Reception of Improvised Music." TDR/The Drama Review 53, no. 4 (November 2009): 137–49. http://dx.doi.org/10.1162/dram.2009.53.4.137.

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Does the concept of improvisation have any meaning when a piece is recorded and experienced at another time and place? Dennen revisits John Coltrane's “My Favorite Things” from the 1963 Newport Jazz Festival to consider a theory of the reception of improvised music.

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Eales, Alison C. "‘One bourbon, one scotch, one beer’: alcohol sponsorship at Glasgow Jazz Festival, 1987–2001." Popular Music 35, no. 2 (April 14, 2016): 231–44. http://dx.doi.org/10.1017/s0261143016000064.

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AbstractThis article examines the relationship between music and sponsorship by drinks companies. Glasgow Jazz Festival has taken place annually since 1987 and is the city's longest running music festival. In its early years, the Festival enjoyed both cash and in-kind sponsorship from a wide range of organisations, including breweries and distilleries along with companies specialising in non-alcoholic drinks. In 2015 sponsorship was more difficult to secure, with cash sponsorship proving to be particularly elusive. The article focuses on cash sponsorship from drinks companies from 1987 to 2001, arguing that the decline in this form of sponsorship is a result of a shifting commercial and cultural landscape. Changes in Glasgow's festival calendar have resulted in a crowded marketplace which not only makes it harder for arts organisations to secure funds, but also makes relationships with sponsors more challenging to manage. Meanwhile, legislative and social changes have meant that the role of alcohol in the city's cultural life has been subject to adjustment throughout the Festival's history.

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Guilhaumon, Jean-Louis, and Bernard Dizambourg. "�volution d�un territoire autour d�un festival de jazz." Administration & �ducation N�156, no. 4 (2017): 79. http://dx.doi.org/10.3917/admed.156.0079.

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Mousset, Christian, and André Videau. "Le festival d'Angoulême, de «Jazz en France» à «Musiques métisses»." Hommes et Migrations 1161, no. 1 (1993): 22–24. http://dx.doi.org/10.3406/homig.1993.1951.

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Regis, Helen A. "Producing Africa at the New Orleans Jazz & Heritage Festival." African Arts 46, no. 2 (June 2013): 70–85. http://dx.doi.org/10.1162/afar_a_00067.

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McCollam, Grace, Kendall McDaniel, Arman Torosian, Julien Bourgeois, Rebecca Yim, Kezia Surjanto, Samantha Albucker, et al. "40510 The Prevalence of Sunscreen Use in Jazz Festival Attendees." Journal of the American Academy of Dermatology 89, no. 3 (September 2023): AB236. http://dx.doi.org/10.1016/j.jaad.2023.07.945.

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Drevon, Guillaume, Luca Pattaroni, Lucien Delley, Fabien Jacot-Descombes, and Nils Hamel. "Rhythmanalysis of Urban Events: Empirical Elements from the Montreux Jazz Festival." Urban Planning 5, no. 2 (June 30, 2020): 280–95. http://dx.doi.org/10.17645/up.v5i2.2940.

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This article proposes an original approach to urban events mapping. At the theoretical level, the article is based on rhythmanalysis and recent research on urban rhythms. It contrasts with previous research by departing from everyday rhythms to tackle the specific rhythms of urban events. Drawing on this theoretical framework, the article proposes to analyse the rhythms of the Montreux Jazz Festival. The article proposes two main types of rhythmic scales, linked with the historical development of the Festival and its annual performance. The methodology is based on a mixed method of data collection and an original analysis framework. The analysis of the historical rhythm is carried out based on the analysis of the festival archives and interviews with experts. The analysis uses the Time Machine visualisation device that reveals three processes of urban resonance: the spread, which shows how the festival is integrated into the existing urban fabric; the openness, which shows accessibility; and the grip, which seeks to evaluate the urban sphere of influence of the event. These different visualisations are enriched by the addition of other data, including ticket scanning and commercial transactions that show the alternance between high and low-intensity periods. These allowed us to not only confirm the impact of programming on flows, but also the effects of the wider organisation of the leisure system. The results of the analysis show that the intertwining of the two rhythmic scales produces a hyper-place that resonates both internationally and locally.

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Nguyen, Tami, Kyungmin Lee, Namho Chung, and Chulmo Koo. "The way of generation Y enjoying Jazz festival: a case of the Korea (Jarasum) music festival." Asia Pacific Journal of Tourism Research 25, no. 1 (February 18, 2019): 52–63. http://dx.doi.org/10.1080/10941665.2019.1580755.

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Curtis, Rebecca Anne. "Australia's Capital of Jazz? The (re)creation of place, music and community at the Wangaratta Jazz Festival." Australian Geographer 41, no. 1 (March 2010): 101–16. http://dx.doi.org/10.1080/00049180903535618.

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Woodall, G. Carole. "Listening for Jazz in Post-Armistice Istanbul." International Journal of Middle East Studies 48, no. 1 (January 14, 2016): 135–40. http://dx.doi.org/10.1017/s0020743815001543.

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On the evening of 14 July 2013, while living in Istanbul, I walked down Kumbaracı Yokuşu away from the sounds of protest to the city's contemporary art museum. As part of the Istanbul Jazz Festival lineup, the Istanbul Modern screened director Batu Akyol's documentary Türkiye'de Caz (Jazz in Turkey), which gathers interviews with Turkish jazz musicians intimate with the country's jazz scene from the 1940s onward. The emergence of a jazz ecology of musician-composers, entrepreneurs, jazz promoters, and collectors runs in tandem with the history of the Turkish Republic, beginning in the years leading up to and including World War I and gaining momentum in the 1930s and 1940s. The documentary does not present a hermetically sealed nationalist understanding of Turkish jazz, but rather affirms a vibrant celebration of the music. To date, Istanbul's arts organizations host international jazz summer festivals and yearlong jazz programs. There are jazz clubs, radio programs, and magazines that highlight international and local events. Turkish university music departments offer jazz studies and formal performance opportunities for musicians. But there are also informal venues, such as the streets, cafes, and bookstores. While out late in Istanbul when I lived there, I would frequently listen to a lone street musician stationed outside of Narmanlı Han playing “My Funny Valentine” on his trumpet. On more recent trips, I have come across a jazz band playing Dixieland tunes along İstiklal Avenue. This is all to say that Istanbul is a city where one can listen to jazz standards, Dixieland, bebop, cool, and fusion as well as take lindy hop dance lessons from a local group. Although Akyol's documentary uncovers a jazz soundtrack dating to the 1930s that is composed of personal stories of local musicians becoming jazzers, the post-Armistice period (1918–23) remains mute, mired in what I consider to be a standard version of the city's origin story of jazz. I want to consider the case of jazz in post-Armistice Istanbul to think about how master narratives erase some sounds and privilege others.

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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals." Canadian Theatre Review 138 (March 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.

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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contemporary performance … work that is visionary, genre-bending, startling, and original” (Press release). The organization’s October 2007 news release (“PuShing beyond the Borders”) and Web-site archives indicate that PuSh has grown exponentially in its six years. It now boasts a history consisting of two initial three-show seasons (2003—4) that morphed into festival formats in the last four years (2005—8), becoming an essential fixture on the Vancouver arts scene.

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Kruger, Martinette, and Melville Saayman. "Segmenting beyond behavioural intentions." International Journal of Event and Festival Management 8, no. 2 (June 5, 2017): 204–23. http://dx.doi.org/10.1108/ijefm-09-2016-0064.

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Purpose The purpose of this paper is to determine whether a music festival leads to additional intangible benefits such as the appreciation of the specific music genre and music tourism. This was done by using visitors’ behavioural intentions related to these benefits as a tool for market segmentation. Design/methodology/approach The research followed a quantitative approach by conducting a visitor survey at an international jazz festival in South Africa. Findings The results showed that visitors’ post-festival behavioural intentions are a useful market segmentation tool. This approach revealed three distinct market segments with different levels of post-festival behavioural intentions (high, medium, and low). The results further showed that music festivals have the potential to create benefits beyond the festival itself or the host destination in the form of music tourism and the appreciation of a music genre. However, influencing visitors’ behavioural intentions can only be achieved by a thorough understanding of the characteristics of the market. Originality/value This research applied an innovative market segmentation approach that showed the post-festival behavioural intentions of different visitor segments at a music festival. The findings confirm that music festivals can have far-reaching benefits that can contribute to their legacy.

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Meile, Jakob Kyril. "Kronik." Magasin fra Det Kongelige Bibliotek 26, no. 3 (April 27, 2013): 61–76. http://dx.doi.org/10.7146/mag.v26i3.66774.

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Indhold: Bøger og bibliotek; Ny nationalbibliotekschef udnævnt. Cand.scient.bibl. Pernille Drost er udnævnt til nationalbibliotekschef og vicedirektør ved Det Kongelige Bibliotek; 100 års partiprogrammer online; Udstillinger; Årets bedste bogarbejde; Per Marquard Otzen – Dagens tegning; International Forfatterscene; Jo Nesbø; Foredragsrække: Besættelsen; Copenhagen Jazz Festival 2013; Lennart Ginman, kontrabas, Thomas Blachman, trommer, Carsten Dahl, klaver, Palle Mikkelborg, trompet; Koncerter; Erhvervelser;

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Thrane, C. "Music Quality, Satisfaction, and Behavioral Intentions Within a Jazz Festival Context." Event Management 7, no. 3 (March 1, 2002): 143–50. http://dx.doi.org/10.3727/152599502108751541.

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Regis, Helen A., and Shana Walton. "Producing the Folk at the New Orleans Jazz and Heritage Festival." Journal of American Folklore 121, no. 482 (October 1, 2008): 400. http://dx.doi.org/10.2307/20487627.

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Bracalente, Bruno, Cecilia Chirieleison, Massimo Cossignani, Luca Ferrucci, Marina Gigliotti, and M. Giovanna Ranalli. "The Economic Impact of Cultural Events: The Umbria Jazz Music Festival." Tourism Economics 17, no. 6 (December 2011): 1235–55. http://dx.doi.org/10.5367/te.2011.0096.

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This paper assesses the economic impact of a cultural event on a local economy. The event analysed is the Umbria Jazz music festival, which is held annually in July in the city of Perugia in Italy. The relevance of this case study concerns the methodological problems involved in estimating the number of visitors attracted by an event characterized by numerous free concerts. In addition, through the choice of the components of expenditure and the impact analysis model, the proposed approach represents an advanced synthesis of the paths which have been developing in the literature.

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Journal articles on the topic 'Jazz-Festival'

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