Relevant bibliographies by topics / Music festivals

Academic literature on the topic 'Music festivals'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Music festivals"

1

Gusāns, Ingars. "DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE." Via Latgalica, no. 5 (December 31, 2013): 105. http://dx.doi.org/10.17770/latg2013.5.1638.

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The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.
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2

Nhan, Do Thi Thanh, and Nguyen Dinh Thao. "Music in the Festival of Vietnamese People (Thanh Hoa) - Issues." Journal of Humanities and Education Development 4, no. 3 (2022): 106–12. http://dx.doi.org/10.22161/jhed.4.3.12.

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The article focuses on studying music in festivals of Vietnamese people in Thanh Hoa. Through the collected material, the authors have synthesized, explored the cultural aspects of the composition and analyzed the music. The result of the research is to find out the meaning of music in contributing to the festival's appearance and to find out the operating rules and basic characteristics of music. From there, several discussions are given to preserve and promote music in the festival to achieve higher efficiency in life. The research results are the judgments about the culture and music constituting the overall festival, including (1) Meaning of festival organization; (2) Space and time of the festival; (3) Musical genres and performances in festivals; (4) Musical characteristics. The study also identifies appropriate research methods, and musical analysis techniques are also the basis for making objective judgments. This research will serve as the basis for the research, conservation, and promotion of folk music in larger and more comprehensive aspects.
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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.

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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
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Cashman, David. "‘The most atypical experience of my life’: The experience of popular music festivals on cruise ships." Tourist Studies 17, no. 3 (September 5, 2016): 245–62. http://dx.doi.org/10.1177/1468797616665767.

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This article considers the growing phenomenon of music festivals on cruise ships. These commercial events, partnerships between event companies and shipping lines, celebrate a particular genre of music and occur aboard a cruise ship. The views of 138 festivalgoers primarily concentrated within six festivals were considered. According to these sources, the festival experience of these events is centred on three factors: live performances, interaction with fellow festivalgoers and star musicians (collectively referred to as ‘ship fam’), and interaction with the constructed space of the cruise ship. Cruise ship music festivals are a different type of music festival, still occurring within festival space, but within the mobile experiential cocoon of a cruise ship.
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Alvarado, Karla Gabriela. "Accessibility of music festivals: a British perspective." International Journal of Event and Festival Management 13, no. 2 (February 1, 2022): 203–18. http://dx.doi.org/10.1108/ijefm-12-2020-0082.

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PurposeThis investigation aims to critically assess accessibility for persons with disabilities (PWDs) at music festivals in the UK.Design/methodology/approachA systematic review of the literature was conducted, followed by a case study focused on analysing accessible facilities and services offered at Glastonbury, Creamfields, Latitudes and Bestival Festivals. These two research strategies made use of secondary data only.FindingsBased on the analysis of the needs of PWDs when attending a music festival and the facilities and services currently offered at the four UK music festivals studied in this research, three themes emerged: (1) insufficient attention is given to venue and site design characteristics, (2) current access booking tools appear to be confusing and bureaucratic and (3) staff awareness is of great concern among PWDs because employees do not have sufficient knowledge about the different types of disabilities and their individual needs.Practical implicationsBy identifying current barriers affecting the experience of PWDs while attending music festivals in the UK, this research guides festival managers to deliver a more accessible music festival experience by suggesting the implementation of new approaches in terms of services and physical spaces provided.Originality/valueThis paper provides festival managers and future researchers with an essential foundation for creating more inclusive music festivals since it mentions critical factors that are currently missing and that can ensure success when responding to PWDs' needs and desires. The information in this investigation can be taken as an initial point to develop a theoretical framework through primary research focused on accessible festival design.
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Ismail, Khairiah, Nawal Hanim Abdullah, Norol Hamiza Zamzuri, and Anuar Shah Bali Mahomed. "GOVERNMENT RESPONSIVENESS ON SAFETY AND SECURITY OF MALAYSIA MUSIC FESTIVALS." Journal of Tourism, Hospitality and Environment Management 7, no. 30 (December 27, 2022): 198–205. http://dx.doi.org/10.35631/jthem.730015.

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Music festivals are often viewed as events that attract a large number of attendees. Despite their positive economic, environmental, and policy impacts on host cities, there are always safety and security concerns at music festivals. This paper emphasises the significance of having proper safety and security, with a particular focus on Malaysian music festivals. The perspectives of government agencies were sought to acquire evidence regarding the impact of a safe and secure music festival, as the approval or rejection of music festivals is dependent on them. Previous studies have highlighted the importance of safety and security at music festivals. However, studies on the perspectives of government agencies, particularly in the context of Malaysian music festivals, are limitedly explored. Therefore, this study aims to investigate the importance of safety and security at music festivals and the repercussions of their absence. Qualitative approaches employed in this study included semi-structured interviews with government agencies such as municipal councils, police, Malaysian Volunteer Corps Department (RELA), and ministries, observation at Malaysian music festivals, and document analysis. The data were then analysed using thematic analysis. The findings of the current study provide evidence of the impact of effective security and safety on the success of music festivals.
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Turris, Sheila A., Tracie Jones, and Adam Lund. "Mortality at Music Festivals: An Update for 2016-2017 – Academic and Grey Literature for Case Finding." Prehospital and Disaster Medicine 33, no. 5 (October 2018): 553–57. http://dx.doi.org/10.1017/s1049023x18000833.

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AbstractIn 2016, the authors published a paper on music festival fatalities between the years 1999 and 2014 (n=722). In this Special Report, they provide an update on fatalities reported at music festivals globally for the period 2016-2017 (n=201). Using a search strategy designed to capture grey literature and media reports of music festival fatalities, reports of the overall frequency and cause-of-death breakdown for publicly reported, festival-related deaths are recorded. This update shows an increase in the frequency of festival-related fatality reports during the new period, together with an increase in the number of deaths attributable to terror (n=60) and overdose/poisoning (n=41). Drawing conclusions about the cause of this increase is challenging given the growth in Internet use, online media reports, and number of music festivals occurring annually when compared with the previous reporting period. The authors re-emphasize the need for a uniform reporting standard and reliable epidemiological data for fatalities related to music festivals, mass gatherings, and special events.TurrisSA, JonesT, LundA. Mortality at music festivals: an update for 2016-2017 – academic and grey literature for case finding. Prehosp Disaster Med. 2018;33(5):553–557.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.

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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Maglov, Marija. "Agency festivals in Serbia: An introduction." Muzikologija, no. 35 (2023): 53–66. http://dx.doi.org/10.2298/muz2335053m.

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The text is intended as an introduction to the research of the agency festivals in Serbia. The term agency festival is explained with examples of international equivalents and an overview of local and regional networks of agency festivals is provided. The most prevalent topics tackled at the agency festivals and, following their content, their significance for contemporary (popular) music beyond music industry goals are presented. The focus is on Kontakt konferencija and Indirekt Showcase festival in Belgrade.
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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (December 1, 2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.

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Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a contradictory reality in these places, being made up of individual, group interests, needs, establishment strategy and politics. To illustrate this phenomenon the paper presents the biggest festivals and spectacles in Serbia and SE Europe: EXIT festival (Novi Sad) attracted thousands of techno and rock lovers with the participation of many famous bands; and the folk trumpet playing festival (Guča), which each summer for several decades has been attracting thousands of lovers of ethno sound to a fair-carnival atmosphere. This ethnological research stresses complex property divisions – lifestyle, music genres, political strategies, scene movements and economic interests.
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Dissertations / Theses on the topic "Music festivals"

1

Richards, Evan E. "The 33rd Alaska Folk Festival : a short documentary /." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/RichardsEE2008.pdf.

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Thomas, Peter. "Geographies of the music festival : production, consumption and performance at outdoor music festivals in the UK." Thesis, University of Newcastle Upon Tyne, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446235.

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Over the last forty years music festivals have emerged as a significant leisure phenomenon. From humble and amateurish beginnings the music festival industry is now an important part of the economy, with several major players dominating the organisation of the large music festival within the UK. Music festivals are economically successful because the spaces within them enable people to engage with practices and performances that are far different from those experienced within the everyday world. However, whilst the role of music festivals has become of increasing importance, both economically and culturally, they remain wholly neglected within academic research. As a result little is known about why music festivals are successful and how people use the spaces within them. Furthermore, there has been no substantial research that has attempted to understand just how music festivals are put together and organised. This research addresses this lacuna through substantial ethnographically informed research that documents how the processes of production, consumption and performance come together at the music festival. It is the first attempt within human geography to document the important spaces and places, practices and performances that constitute just what a music festival is. The challenge for this research has been to show why music festivals are successful for both the festival organiser and the festival participants. Three specific areas are explored using a variety of methods. Firstly this research explores how the spaces within the music festival are produced as economically successful spaces, highlighting how decisions by festival organisers are often taken to encourage particular forms of consumption by festival participants. Secondly, this research explores how festival participants use the music festival, and pays particular attention to the lived experiences of those involved as a means to understanding why people enjoy the spaces within the music festival. Thirdly, this research looks at the creative tensions that emerge within the festival as a result of the differing expectations between the festival organiser and the festival participants over how the festival should take shape
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Perez, Julian. "Music Festivals: A Secondary Market Analysis." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1338.

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While the majority of the literature on secondary markets for tickets in the entertainment industry focuses on concerts and sporting events, this study aims to shed light specifically on the music festival resale market. Music festivals have risen in prominence in recent years, particularly among millennials, during the time that the internet has dramatically facilitated the resale of tickets through online marketplaces. With many of the top festivals selling out rapidly, a great deal of music fans turn to secondary markets for tickets. However, very little is known about the behavior of secondary markets for music festivals due to information not being readily available to the public. This study uses demand-side data including transaction prices and quantities acquired from one of the largest online secondary ticket marketplaces to examine market behavior. My findings show that on average, prices decline for music festivals as they approach, but that there are years for certain festivals where this isn’t the case. Other results show that markets for festivals with multiple weekends operate differently and that special artist performances such as band reunions can have a significant positive effect on consumer demand. Lastly, the majority of all ticket sales are found to take place in the final 30 days before music festivals transpire.
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Zabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.

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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.
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Ludvigsson, Josefine. "Festivalernas Intåg : Korröfestivalen – en bordunstämmas resa genom festivaliseringen." Thesis, Växjö University, School of Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2382.

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Title: Festivalernas Intåg – Korröfestivalen- en bordunstämmas resa genom festivaliseringen

The Korrö festival- The establishment of a Swedish Folk Music Festival.

This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the “Korrö bordunstämma” to build instruments and play folk music. Later on the event started to attract other people through public live concerts. These concerts became more and more popular and they soon took over the original purpose of the event. This became a turning point for “Korrö bordunstämma” who now decided to change name to the Korrö Folk Music Festival. I have been studying the history of this event to see if I could find any particular circumstances that may have contributed to the popularity this event have reached over the years. I will illustrate how certain factors such as organisation, economy and alteration of visitors have affected the festival. This text will give the reader a presentation of a festival in constant change. I believe that The Korrö Folk Music Festival has been an important part of the development of modern Swedish folk music and still is.

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Marchini, Ben. "Festivals and sustainability : reducing energy related greenhouse gas emissions at music festivals." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8840.

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This thesis investigates the potential to reduce greenhouse gas emissions relating to electrical power provision at UK music festivals. It has been carried out in partnership with a number of UK festival organisers and power providers. The thesis provides a literature review of sustainable event management and the associated electrical power provision, before then investigating the existing methodologies for quantifying greenhouse gas emissions at festivals. This review identified a lack of data regarding energy demand at events other than total fuel demand. While energy data does not improve the accuracy of GHG accounting, it provides more detail which can identify opportunities to reduce these emissions. Data was gathered from 73 power systems at 18 music festivals from 2009-2012. This produced typical festival power load profiles for different system types including stages, traders and site infrastructure. These load profiles were characterised using a series of indicators that can create performance benchmarks, in addition to increasing the detail of carbon auditing. Analysis of the load profiles identifies opportunities for emission reduction. These address either the supply or demand for power in order to reduce on site fuel consumption. These opportunities include changes in operating procedure to reduce demand during non-operational periods, utilising low energy equipment on stages, and using a power provision system capable of adjusting power plant supply to meet demand. The work has documented power demand at festivals, and highlighted opportunities for change that can reduce costs and emissions, as well as informing festivals on their practices.
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Boiko, M. "The Best Music Festivals in Europe 2017." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8367.

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Earl, Cameron Phillip. "Public health management at outdoor music festivals." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16235/1/Cameron_Earl_Thesis.pdf.

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Background Information: Outdoor music festivals (OMFs) are complex events to organise with many exceeding the population of a small city. Minimising public health impacts at these events is important with improved event planning and management seen as the best method to achieve this. Key players in improving public health outcomes include the environmental health practitioners (EHPs) working within local government authorities (LGAs) that regulate OMFs and volunteer organisations with an investment in volunteer staff working at events. In order to have a positive impact there is a need for more evidence and to date there has been limited research undertaken in this area. The research aim: The aim of this research program was to enhance event planning and management at OMFs and add to the body of knowledge on volunteers, crowd safety and quality event planning for OMFs. This aim was formulated by the following objectives. 1.To investigate the capacity of volunteers working at OMFs to successfully contribute to public health and emergency management; 2.To identify the key factors that can be used to improve public health management at OMFs; and 3.To identify priority concerns and influential factors that are most likely to have an impact on crowd behaviour and safety for patrons attending OMFs. Methods: This research program has involved a series of five exploratory research studies exploring two main themes within public health management for OMFs, event planning capacity and volunteer capacity. Four studies used a cross-sectional design and survey methodology to collect self-report data from each cohort while the remaining study utilised case methods. The study participants were recruited from Australian and European OMFs. For volunteer capacity, data have been collected from volunteers at two internationally recognised OMFs. One had formal training for their volunteers and the other did not. For planning capacity, data have been collected on consumer concerns regarding OMFs, priority factors that influence crowd behaviour and safety and leadership in event planning. Results (volunteer capacity): The first studies assessed the public health and emergency management capacity of volunteers working at two OMFs. Volunteer training was provided at one event but not at the other. Comparatively, the participants from the OMF where training was provided reported noticeably better awareness of and involvement in public health and emergency management at that event. Additionally, this awareness was improved with experience volunteering at the study festivals. These studies highlighted the benefits of volunteer training and retention. Results (event planning capacity): The next three studies focused on event planning capacity with the first being a case study on event planning leadership. The purpose of this study was to demonstrate that the event licensing programs managed by LGAs could improve health outcomes for OMFs. A European OMF, the Glastonbury Festival, was chosen for this study. After problems in 2000, it was highly likely that the event would never be held again unless public health and safety was improved. This study documents the progression from that 2000 event through to the 2004 event that was considered the safest event yet. The LGA EHPs working through the event licensing programs had engineered these changes. The next study focused on consumer priority concerns associated with attending OMFs. A wide range of public health issues were identified as high concern including access to drinking water, toilets, safe food and personal protection issues such as females being grabbed or losing valuables. Safety in the mosh pit was a particular concern for almost half of the participants in the study. Also mosh pit safety was identified with other concerns such as females being grabbed, needing first aid, being struck by thrown items, crowd sizes, losing valuables and alcohol-related behaviour. Making safety in the mosh pit the most important public health issue for these study participants. The final study focused on identifying the main influences on crowd behaviour and safety at OMFs, particularly mosh pits. This study follows on from the consumer study. The study participants were skilled event security guards, specialising in OMFs and considered the performers, the music and group mentality as the most common motivators for changes in mosh pit behaviour. They also considered that generally (1) crowd composition, (2) drugs and particularly alcohol, (3) the type of performance, (4) venue configuration, and (5) activities of security staff were highly influential on crowd behaviour and safety at OMFs. Conclusion: Results from this research program have added to the body of evidence on public health management for OMFs. Findings support capacity building and retention for volunteer staff working at OMFs. Also this research has provided evidence on quality event planning, crowd behaviour and safety that can support EHPs working with OMFs. All of these studies have been published in peer-reviewed journals in order to communicate these findings to volunteer organisations and EHPs involved with OMFs. Where to from here? There remains considerable opportunity for research on a variety of topics related to public health management for OMFs. Some specific areas where further work is recommended are: othe development and evaluation of a pilot training program (web-based) for Australian volunteers working at OMFs (this training package is currently under development); othe development of a national code of practice for the event management industry; oresearch into festival patrons' risk perceptions and the impacts of those choices; oevaluation of the planning and management approaches used by specific OMFs; and oadditional detailed investigations of event characteristics such as crowd mood and its impacts on public health safety at OMFs.
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9

Earl, Cameron Phillip. "Public health management at outdoor music festivals." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16235/.

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Background Information: Outdoor music festivals (OMFs) are complex events to organise with many exceeding the population of a small city. Minimising public health impacts at these events is important with improved event planning and management seen as the best method to achieve this. Key players in improving public health outcomes include the environmental health practitioners (EHPs) working within local government authorities (LGAs) that regulate OMFs and volunteer organisations with an investment in volunteer staff working at events. In order to have a positive impact there is a need for more evidence and to date there has been limited research undertaken in this area. The research aim: The aim of this research program was to enhance event planning and management at OMFs and add to the body of knowledge on volunteers, crowd safety and quality event planning for OMFs. This aim was formulated by the following objectives. 1.To investigate the capacity of volunteers working at OMFs to successfully contribute to public health and emergency management; 2.To identify the key factors that can be used to improve public health management at OMFs; and 3.To identify priority concerns and influential factors that are most likely to have an impact on crowd behaviour and safety for patrons attending OMFs. Methods: This research program has involved a series of five exploratory research studies exploring two main themes within public health management for OMFs, event planning capacity and volunteer capacity. Four studies used a cross-sectional design and survey methodology to collect self-report data from each cohort while the remaining study utilised case methods. The study participants were recruited from Australian and European OMFs. For volunteer capacity, data have been collected from volunteers at two internationally recognised OMFs. One had formal training for their volunteers and the other did not. For planning capacity, data have been collected on consumer concerns regarding OMFs, priority factors that influence crowd behaviour and safety and leadership in event planning. Results (volunteer capacity): The first studies assessed the public health and emergency management capacity of volunteers working at two OMFs. Volunteer training was provided at one event but not at the other. Comparatively, the participants from the OMF where training was provided reported noticeably better awareness of and involvement in public health and emergency management at that event. Additionally, this awareness was improved with experience volunteering at the study festivals. These studies highlighted the benefits of volunteer training and retention. Results (event planning capacity): The next three studies focused on event planning capacity with the first being a case study on event planning leadership. The purpose of this study was to demonstrate that the event licensing programs managed by LGAs could improve health outcomes for OMFs. A European OMF, the Glastonbury Festival, was chosen for this study. After problems in 2000, it was highly likely that the event would never be held again unless public health and safety was improved. This study documents the progression from that 2000 event through to the 2004 event that was considered the safest event yet. The LGA EHPs working through the event licensing programs had engineered these changes. The next study focused on consumer priority concerns associated with attending OMFs. A wide range of public health issues were identified as high concern including access to drinking water, toilets, safe food and personal protection issues such as females being grabbed or losing valuables. Safety in the mosh pit was a particular concern for almost half of the participants in the study. Also mosh pit safety was identified with other concerns such as females being grabbed, needing first aid, being struck by thrown items, crowd sizes, losing valuables and alcohol-related behaviour. Making safety in the mosh pit the most important public health issue for these study participants. The final study focused on identifying the main influences on crowd behaviour and safety at OMFs, particularly mosh pits. This study follows on from the consumer study. The study participants were skilled event security guards, specialising in OMFs and considered the performers, the music and group mentality as the most common motivators for changes in mosh pit behaviour. They also considered that generally (1) crowd composition, (2) drugs and particularly alcohol, (3) the type of performance, (4) venue configuration, and (5) activities of security staff were highly influential on crowd behaviour and safety at OMFs. Conclusion: Results from this research program have added to the body of evidence on public health management for OMFs. Findings support capacity building and retention for volunteer staff working at OMFs. Also this research has provided evidence on quality event planning, crowd behaviour and safety that can support EHPs working with OMFs. All of these studies have been published in peer-reviewed journals in order to communicate these findings to volunteer organisations and EHPs involved with OMFs. Where to from here? There remains considerable opportunity for research on a variety of topics related to public health management for OMFs. Some specific areas where further work is recommended are: othe development and evaluation of a pilot training program (web-based) for Australian volunteers working at OMFs (this training package is currently under development); othe development of a national code of practice for the event management industry; oresearch into festival patrons' risk perceptions and the impacts of those choices; oevaluation of the planning and management approaches used by specific OMFs; and oadditional detailed investigations of event characteristics such as crowd mood and its impacts on public health safety at OMFs.
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Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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Thesis (Ph.D.)--University of Western Sydney, 2007.
A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
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Books on the topic "Music festivals"

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Group, Mintel International, ed. Music concerts and festivals. London: Mintel International Group, 2002.

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Group, Mintel International, ed. Music concerts and festivals. London: Mintel International, 2000.

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Ltd, Mintel International Group, ed. Music concerts and festivals. London: Mintel International, 2002.

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Hancock, Mossie. Music for one-- music for all: The story of the Saskatchewan Music Festival Association, 1908-1988. Regina: Saskatchewan Music Festival Association, 1988.

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Ratassepp, Arvo. Estonian song festivals. Tallinn: Perioodika, 1985.

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Gideon, Maxime. Steelband Music Festivals, 1952-1989. Barataria, Republic of Trinidad & Tobago: Macprint Promotions, 1990.

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Maxime, Gideon. Steelband music festivals, 1952-1989. [Port of Spain], Trinidad and Tobago: Macprint Promotions, 1990.

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Macau International Music Festival (9th 1995 Macau). IX Festival Internacional de Música de Macau =: IX Macau International Music Festival = [Ti chiu chieh Ao-men kuo chi yin yüeh chieh]. [Macao]: Instituto Cultural de Macau, 1995.

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Festival, Schleswig-Holstein Musik. Das Schleswig-Holstein Musik Festival: Herausgegeben vom Schleswig-Holstein Musik Festival. Heidelberg: Edition Braus, 1990.

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Verhoef, Matty. European Festivals. [Geneva, Switzerland]: European Festivals Association, 1995.

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Book chapters on the topic "Music festivals"

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Reynolds, Andy. "Festivals." In The Live Music Business, 160–84. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003019503-13.

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Simon, Jean-Paul. "Facts about Music Festivals." In Managing Cultural Festivals, 250–72. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003127185-17.

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Castro-Martínez, Elena, Albert Recasens, and Ignacio Fernández-de-Lucio. "Innovation in Early Music Festivals." In Managing Cultural Festivals, 73–92. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003127185-6.

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Waksman, Steve. "Festivals, free and unfree." In Researching Live Music, 19–30. London: Focal Press, 2021. http://dx.doi.org/10.4324/9780367405038-2.

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Botella Nicolás, Ana Maria, Rosa Isusi-Fagoaga, and Elena Castro-Martínez. "Music Festivals and Educational Concerts in Spain." In Managing Cultural Festivals, 147–67. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003127185-11.

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Segre, Giovanna, Andrea Morelli, and Caterina Valenti. "A Classical Music Festival and Its Audience." In Managing Cultural Festivals, 95–109. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003127185-8.

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Lu, Xiao. "Music Festivals and Edutainment in a Digital Age." In Festivals and Edutainment, 73–85. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003305415-8.

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Oliva, Jordi, and Alba Colombo. "Music festivals." In Events and Well-being, 161–79. Routledge, 2021. http://dx.doi.org/10.4324/9781003044932-11.

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"music festivals." In Encyclopedia of Contemporary Italian Culture, 592–602. Routledge, 2002. http://dx.doi.org/10.4324/9780203440254-117.

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Santos, Sara, Pedro Espírito Santo, and Luísa Augusto. "Antecedents of Participation in Music Festivals." In Managing Festivals for Destination Marketing and Branding, 26–42. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6356-7.ch002.

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In the marketing literature, the desire or need to participate in a music festival is triggered by various reasons. Some sponsorship forms have associated brands with music festivals. One of the counterparts of the sponsorship is the possibility of associating the name of the brand with the designation of the name of the festival—that is, the brand acquiring the naming right of the festival. However, this theme has aroused the academy's interest, and studies that show the importance of the festivals in connection with the sponsoring brand. Thus, this study (N = 306) was carried out through a research model, tested through the PLS-SEM methodology, which showed that cultural exploration and socialization have effects on trust and brand connection and that the congruence between the sponsoring brand and the festival's characteristics play a mediating role in this relationship. Therefore, recommendations are suggested that contribute to the theoretical-practical deepening of new forms of persuasive communication, such as sponsorship, applied to the creative and cultural industries.
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Conference papers on the topic "Music festivals"

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

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festival in Thailand and to examine the perception of tourists towards destination image influenced by music festival.Music festivals in Thailand have been studied and 5 music festivals were chosen as the research settings. The documentary study was used to examine the 5 music festivals. Then the semi-structured interviews were conducted with tourists who have visited at least one of the five selected music festivals. The qualitative data are analysed using thematic analysis.The findings show that the destination images are influenced by the music festivals. The perceived images of the destination may similar to the existing images, while some may differ and transferable. The findings also show that the participants perceiveimages of the place differently during the music festival. The results can be applied to destination marketer in order to create or shape the destination images.
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BATAILLIE, C., L. MUYSHONDT, and R. DE SCHUYTER. "NOISE CONTROL OF OUTDOOR MUSIC FESTIVALS- LEGISLATION AND ELECTRONICALLY AMPLIFIED MUSIC." In Noise in the Built Environment 2010. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17184.

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Stipanović, Christian, Elena Rudan, and Vedran Zubović. "ENHANCING COMPETITIVENESS FOR ECONOMIC AND TOURISM GROWTH: CASE OF CROATIA." In Tourism in Southern and Eastern Europe 2023: Engagement & Empowerment: A Path Toward Sustainable Tourism. University of Rijeka, Faculty of Tourism and Hospitality Management, 2023. http://dx.doi.org/10.20867/tosee.07.26.

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Purpose – Music tourism refers to attendance at music events such as concerts, festivals, and other music-related activities. This form of tourism can have a significant effect on the development of destinations hosting music events, and can also contribute to the promotion of a destination's cultural heritage and identity. Croatian destinations organize various music events and strive to become distinctive music-event destinations. In the process of diversification relative to the global, universal offering, the valorisation of traditional music plays an important role in creating a unique experience. The aim of the article is to analyse the attitudes of Generation Y tourists towards traditional-music events and the supplementary offering with a view to innovating music festivals and concerts, which can become the main motivation for visiting a destination. Methodology – The research of the music preferences of Generation Y in tourism is based on a questionnaire survey of 123 respondents in Croatia, who evaluated the offering of music festivals and traditional-music events in the overall offering of music events in the destination. Factor analysis was conducted to determine the factors that influence the behavioural intentions and selection of traditional-music festivals of Generation Y. Findings – The main results of the research are the identification of the most important characteristics for choosing a type of music event and their impact on a destination’s music offering and overall tourism offering. The results show that attendance at traditional-music events depends mainly on the respondents’ personal preferences and the quality of the event offerings, while a destination's supplementary facilities and services are not critical to the choice of a music event in tourism. The development of events to innovate a destination’s offering must focus on the quality of music events geared to the target segment and should be based on stakeholder synergy and the knowledge of musicologists. Contribution – This research is significant because no previous research results have been found on Generation Y in relation to the evaluation of traditional-music events and their role in the overall music offering of a destination. The results contribute to a better understanding of the needs and preferences of specific generations who attend music events, and of the supporting destination strategies in destination audio management.
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Jamison-Powell, Sue, Lucy Bennett, Jamie Mahoney, and Shaun Lawson. "Understanding in-situ social media use at music festivals." In the companion publication of the 17th ACM conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2556420.2556503.

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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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Larsen, Jakob Eg, Arkadiusz Stopczynski, Jan Larsen, Claus Vesterskov, Peter Krogsgaard, and Thomas Sondrup. "Augmenting the sound experience at music festivals using mobile phones." In the 15th international conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1943403.1943471.

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Nedelcut, Nelida. "CONSUMER RESEARCH ON THE PROMOTION OF ROMANIAN MUSIC IN DEDICATED FESTIVALS." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/15/s05.027.

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Oklobdžija, Sonja. "The role and importance of social media in promoting music festivals." In Synthesis 2015. Belgrade, Serbia: Singidunum University, 2015. http://dx.doi.org/10.15308/synthesis-2015-583-587.

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Sun, Yue-xin, and Jong-oh Lee. "Creating A New Place in a Local City through Performing Art Festivals: Case of Zhangbei Grassland Music Festival in China." In 3rd Eurasian Conference on Educational Innovation 2020 (ECEI 2020). WORLD SCIENTIFIC, 2020. http://dx.doi.org/10.1142/9789811228001_0055.

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HILL, AJ, J. MULDER, M. KOK, J. BURTON, A. KOCIPER, and A. BERRIOS. "A CASE STUDY ON SOUND LEVEL MONITORING AND MANAGEMENT AT LARGE-SCALE MUSIC FESTIVALS." In Reproduced Sound 2019. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/15305.

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Reports on the topic "Music festivals"

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Turner, Tom, and Nancy Hodges. Americana Music Festivals: An Ethnographic Exploration of the Experiential Consumptionscape. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-25.

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Stettler, Stephanie. Sustainable Event Management of Music Festivals: An Event Organizer Perspective. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.257.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.

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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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Turner, Tom, and Nancy Hodges. Exploring Outdoor Lifestyle Brands within the Americana Music Festival Marketplace. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-395.

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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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Divita, Lorynn. "I Just Thought It Looked Cool": Cultural Appropriation by Music Festival Attendees. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1481.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, July 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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