Relevant bibliographies by topics / Rock music festivals

Academic literature on the topic 'Rock music festivals'

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

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Journal articles on the topic "Rock music festivals"

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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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Tjora, Aksel. "The social rhythm of the rock music festival." Popular Music 35, no. 1 (November 30, 2015): 64–83. http://dx.doi.org/10.1017/s026114301500080x.

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AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis will employ a close description of this rhythm's phases, and how transitions between them are interactively negotiated. While rock music festivals certainly celebrate fandom, this paper draws attention to processes that build strong senses of community between participants while joining together in the camping site, outside stage areas. The social rhythm, as it is interactively and artfully produced between participants, makes the festival recognisable as a festival, and attractive as a social event. A profound sense of connectedness between participants is to be found between the tents in the festival camp.
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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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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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Zmudzińska, Kamila, and Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland." Journal of Geography, Politics and Society 13, no. 2 (September 29, 2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.

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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.
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Oliveira Medeiros, Isabella, Simone Evangelista, and Simone Pereira de Sá. "Rock versus pop: symbolic disputes at Rock in Rio music festival." Arts and the Market 11, no. 2 (April 30, 2021): 136–46. http://dx.doi.org/10.1108/aam-09-2020-0043.

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PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.FindingsBy recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.Originality/valueThe paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.
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Brown, Alyssa E., Keith Donne, Paul Fallon, and Richard Sharpley. "From headliners to hangovers: Digital media communication in the British rock music festival experience." Tourist Studies 20, no. 1 (November 4, 2019): 75–95. http://dx.doi.org/10.1177/1468797619885954.

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Extant tourist experience literature focuses on ‘live’ space and time activity, while pre- and post-components are often neglected despite the opportunities offered by increasing use of digital media communication (DMC). Focusing especially on the pre-festival experience but also addressing peri- and post-phases, this study examines the role of DMC in tourists’ experiences at British rock music festivals. Interviews with festivalgoers revealed three core and inter-related themes: information, emotional response and communitas. Initial engagement with DMC enabled planning, generated feelings of anticipatory excitement and created a sense of communitas. Online activity reduced peri-festival but continued to enhance the live event experience, while the virtual communitas was extended at the post-festival phase.
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Piotrowski, Grzegorz. "Jarocin: A Free Enclave behind the Iron Curtain." East Central Europe 38, no. 2-3 (2011): 291–306. http://dx.doi.org/10.1163/187633011x597216.

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AbstractJarocin in Poland is usually associated with one of the biggest rock festivals behind the Iron Curtain. It was not only a birthplace of many music groups in the 1980s, but also an enclave of freedom in communist Poland. It was a place where young people could manifest their music and fashion tastes, listen to their favorite bands and enjoy few days of relative freedom. This article highlights the main events in the history of the festival and also tries to assess its significance for the broader political and cultural life of Poland in the 1980s. It also looks at the role the festival played in the creation of youth subcultures and in catalyzing political changes in “late socialist” Poland.
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Brooks, Sarah, Alexandre Magnin, and Dan O'Halloran. "Rock On!: bringing strategic sustainable development to music festivals." Progress in Industrial Ecology, An International Journal 6, no. 3 (2009): 285. http://dx.doi.org/10.1504/pie.2009.031066.

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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.

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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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Dissertations / Theses on the topic "Rock music festivals"

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Brooks, Sarah, Dan O'Halloran, and Alexandre Magnin. "Rock On! : Bringing strategic sustainable development to music festivals." Thesis, Blekinge Tekniska Högskola, Avdelningen för maskinteknik, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-3860.

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Recreational events gather large numbers of people in concentrated areas for brief periods of time. Effects of these events extend far beyond their spatial and temporal boundaries; a music festival is one such event. This paper asks, “What are some measures that can move music festivals strategically toward sustainability?” A framework for strategic sustainable development based on backcasting from sustainability principles is applied. Research draws on pertinent literature, interviews with festival organizers and an in-depth case study with International Music Concepts. Results indicate that critical flows and management routines upon which music festivals depend contribute to systematic undermining of social and ecological systems. Festival organizers sit at the centre of these flows, and are crucial to changing them. Education to inspire behavioural change of festival organizers and other stakeholders, notably suppliers, audience and artists, appears critical to shifting music festivals toward sustainability. This can be underpinned by building in-house ‘sustainability capacity’ of festival organisations; creating strategic alliances between festival organizers; and scaling up organisational efforts to include lobbying governments for financial and other support to authenticate a high-level commitment to true sustainable development. Music festivals may then leverage their role in society to move society itself toward sustainability. A template and guidebook are presented to facilitate this shift.
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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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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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Cummings, Joanne. "Sold out ! : an ethnographic study of Australian indie music festivals." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality. Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
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Koski, Carina. "Musikfestivaler som turistiskt dragplåster : en fallstudie på Sweden Rock Festival." Thesis, Gotland University, Department of Business Administration, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-214.

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

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

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


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

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Umbelino, Ana Filipa Rosado. "A magnitude que os festivais de música, Rock in Rio, NOS Alive e Super Bock Super Rock têm para a hotelaria de 4 e 5 estrelas em Lisboa, Cascais e Oeiras." Master's thesis, Escola Superior de Hotelaria e Turismo do Estoril, 2018. http://hdl.handle.net/10400.26/24660.

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A relação entre eventos e turismo é verídica e sempre foi muito forte. Essa relação, que hoje adquire uma fenomenal importância económica, cultural e social, resulta do progresso e expansibilidade dos eventos, do fenómeno turístico e da cada vez mais a intrínseca ligação entre eles. Nos dias de hoje realizam-se todos os dias inúmeros eventos que reúnem milhares de participantes, uma parcela deles turistas nacionais e internacionais. Estes usufruem dos transportes rodoviários, aéreos e ferroviários, da hotelaria, restauração e outros serviços turísticos, contribuindo assim para a economia do turismo e dos eventos. Os festivais de música consagram uma das vertentes dos eventos em Portugal onde têm tido uma evolução espantosa, cada vez são em maior número, com cartazes apelativos, preparados para receber qualquer tipo de público, uns em sítios fechados outros em espaços verdes abertos, todos com o mesmo propósito, oferecer ao turista uma experiência única. A hotelaria e este tipo de eventos acabam por ser uma parceria, dado que uma parte dos turistas necessitam de pernoitar em estabelecimentos, estabelecimentos estes que muitas das vezes são unidades hoteleiras. Desta ligação entre as unidades hoteleiras e os festivais de música, surge o interesse em estudar a influência que os festivais de música como o Rock in Rio, NOS Alive e Super Bock Super Rock, detêm na hotelaria de 4 e 5 estrelas na área da Grande Lisboa, objetivando assim a magnitude que estes proporcionam em relação à Taxa de Ocupação, Room Night, Receita Geral das unidades hoteleiras bem como para o turismo em Lisboa, Cascais e Oeiras. Com o estudo efetuado pode-se concluir que a maioria das unidades hoteleiras em estudo não aumenta o room night, que estes festivais de música influenciam bastante as unidades hoteleiras a nível de taxa de ocupação e receita geral e que a realização destes festivais são um forte contributo para a hotelaria e para o Turismo em Lisboa.
The relation between events and tourism is real and it has always been strong. Nowadays, it acquired a significant economic, cultural and social importance, which resulted from the progress and expansion of those events and also from the touristic phenomenon and the intrinsic connection between them, that as increase over the years. Countless events take place every day gathering thousands of participants, either national or international that has road, air and rail transportation, hotels, restaurants and other touristic services, thus contributing to the tourism industry. The music festivals are one of the most remarkable aspects of events management in Portugal, increasing more and more every day, using appealing posters and flyers, and are well prepared to receive any type of public, some in closed spaces others in open ones, all with the same purpose, same goal, offer an unique experience. The hotel industry and these type of events share a partnership, since some of the tourists need to stay overnight at the establishments, which, majority of times, are hotels. From this connection, between hotel industry and music festivals, emerges the interest in studying the influence that Rock in Rio, NOS Alive and Super Bock Super Rock have in the 4 and 5 star hotels in the Great Lisbon area, aiming towards the magnitude they provide in relation to the occupation rate, room night and general revenue of the hotel units as well as for the tourism in Lisbon. With the study carried out it can be concluded that the majority of the hotels studied do not increase the room night, that these music festivals greatly influence the hotel units in terms of occupancy rate and general revenue and that the realization of these festivals are a a strong contribution to the hotel industry and Tourism in Lisbon.
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Oliveira, Lize Antunes de. "Dos alto-falantes para a perpetuação da memória: o Rock in Rio e a nova experiência do entretenimento." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20211.

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Entertainment occupies a privileged position in contemporary society, based on consumption and visibility, result of new socioeconomic and cultural dynamics, which the spectacle is one of its manifestations. The current scene of the music industry suggests other ways of consuming music, motivating interest in understanding the evolution of festivals and the consequent reinvention of previous practices. A better comprehension of this context justifies the choice of Rock in Rio music festival as an object of study. The event underwent a remarkable change throughout its history: from a first edition of difficult set up, in 1985, until its consolidation as a brand of global impact. The research corpus covers the 1985 and 2015 Rock in Rio editions, manifested in audio-visual texts of their main artists’ performances, such as Queen and Metallica; communication pieces of sponsoring brands of the festival in 2015; And the spatial configuration of the Cidade do Rock in the thirty years commemorative edition of Rock in Rio, from which are apprehended the emerging senses of the lived one, given that its structure conditions the interactions between the subjects that make the fruition experience of the event and its value construction happen. The proposed study seeks to show that Rock in Rio is unique as a collective experience. Its methodology of analysis and theoretical foundation addresses Greimas' semiotics and its unfolding, such as Landowski's sociosemiotics (2014a; 2014b) and its dynamics of sense and interaction regimes between subjects, besides the contributions of semioticists of the French line who develop studies on the relations between expression and content, spatiality and the semiotics of situations. The perception of spectacle by Charle (2012) is fundamental to better achieve the suggested analyzes. In the expectation of these conceptions guiding the research in the comprehension of the topics addressed, we have the support in a literature that allows the understanding of the socio-cultural and economic movements that transform entertainment into consumption goods, like the work of Pine and Gilmore (2011), and the emergence of the audience as the subject of the show, based on the contributions of Rancière (2012). The investigation confirms the hypothesis that the sensitive experience articulated to the construction of value of the festival by a complex destinator is what makes the audience loyal to Rock in Rio, which is revealed to be a strong brand of the entertainment during its thirty years of history
O entretenimento ocupa posição privilegiada na sociedade contemporânea, fundamentada no consumo e na visibilidade, resultado de novas dinâmicas socioeconômicas e culturais, das quais o espetáculo é uma das suas manifestações. O cenário atual em que se insere a indústria musical sugere outras formas de consumir música, motivando o interesse em compreender a evolução dos festivais e a consequente reinvenção de práticas precedentes. Uma maior compreensão desse contexto justifica a escolha do festival de música Rock in Rio como objeto de estudo. O evento passou por uma mudança notória no decorrer de sua história: de uma primeira edição, em 1985, de difícil construção, até a sua consolidação como marca de impacto global. O corpus da pesquisa abrange as edições do Rock in Rio de 1985 e de 2015, manifestadas em textos audiovisuais das performances de seus principais artistas, como Queen e Metallica; as peças de comunicação de marcas patrocinadoras do festival em 2015; e a configuração espacial da Cidade do Rock na edição comemorativa dos trinta anos do Rock in Rio, da qual são apreendidos os sentidos emergentes do vivido, dado que sua estrutura condiciona as interações entre os sujeitos que fazem a experiência de fruição do evento e de sua construção de valor acontecer. O estudo proposto busca dar a ver que o Rock in Rio faz-se único como experiência coletiva. Tem como metodologia de análise e fundamentação teórica a semiótica de Greimas e seus desdobramentos, como a sociossemiótica de Landowski (2014a; 2014b) e sua dinâmica dos regimes de sentido e de interação entre sujeitos, além das contribuições de semioticistas da linha francesa que desenvolvem estudos sobre as relações entre expressão e conteúdo, a espacialidade e a semiótica das situações. É fundamental a percepção de espetáculo por Charle (2012) para uma melhor consecução das análises sugeridas. Na expectativa dessas concepções orientarem a pesquisa na compreensão dos temas abordados, tem-se o apoio em uma literatura que permite o entendimento dos movimentos socioculturais e econômicos que transformam o entretenimento em bem de consumo, como a obra de Pine e Gilmore (2011), e a emergência do público como sujeito do espetáculo, a partir das contribuições de Rancière (2012). A investigação confirma a hipótese de que a experiência sensível articulada à construção de valor do festival por um destinador complexo é o que fideliza o público ao Rock in Rio, o qual se revela uma forte marca do entretenimento no decurso de seus trinta anos de história
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Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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

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This dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates as an existential support in the setting of the visual symbolic representation of a given culture at a given time and space history. The figures of speech created by the practices of fashion generate social archetypes that become signs of a life style. The dress becomes a whole system of meaning. The analysis is based on photographs taken of goers of the two festivals (Festival Goiânia Noise and Lollapalooza Music Festival), noting that were considered the subjects photographed and not the photograph itself, as supported by observation. The study was structured considering the symbolic systems as creators of communities of existence and fashion as a form of social practice. Thus, the work is grounded in the discourse of fashion in the form of how identities are determined by simulations made by the groups / tribes and how to establish mediated existence poetics of everyday wear.
Esta dissertação versa sobre as práticas de si como mediadora do processo de construção das identidades, as quais legitimam as existências sócio-culturais dos sujeitos. Através das narrativas visuais produzidas no cenário dos festivais de rock, foram traçadas as relações da moda como instrumento para a construção das identificações. A moda, entendida como uma prática social e cultural opera como um suporte existencial na fixação das visualidades da representação simbólica de uma dada cultura, num dado tempo e espaço histórico. As figuras de estilo criadas pelas práticas da moda geram arquétipos sociais que se tornam signos de um modo de vida. A vestimenta torna-se um sistema inteiro de significação. A análise baseia-se em fotografias tiradas de freqüentadores dos dois festivais (Festival Goiânia Noise e Lollapalooza Music Festival), lembrando que foram considerados os sujeitos fotografados e não a fotografia em si, como suporte de observação. O estudo foi estruturado pensando os sistemas simbólicos como criadores de comunidades de existências e a moda como uma forma de prática social. Deste modo, o trabalho se fundamenta, nos discursos da moda, na forma de como as identidades são fixadas pelos simulacros criados pelos grupos/tribos e de como se estabelecem as existências mediadas pela poética cotidiana do vestir.
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Pousár, Pauline. "Sweden Rock Festivalen, ett kulturellt och socialt fenomen?" Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-319739.

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Sweden Rock Festival is one of the biggest festivals in Sweden and its focus on rock music in its different forms keeps the audience coming back and keeps the festival going. Time and time again the festival is noticed as being one of the safer festivals based on the amount of reported assaults and reported accidents. The purpose of this paper is to try to find the reason why the Sweden Rock Festival is perceived as safe. Looking at our rules and regulations harassment, violent crimes and sexual predatory behaviour is more common on a city street in daylight than it is at the festival even if some men and women are barely wearing clothes, are intoxicated and at times sleeping alone in the grass in a secluded area. The materials put together show that people choose to co-exist and care for each other to keep the festival safe and welcoming. The paper is based on my own observations at the festival as well as interviews with other visitors, these were conducted in person. I have found statistics from the police and materials written about the festival. I have chosen to use the theory of homophily in some parts of the analysis but I am focusing on performance theories as well as the values and morals aspect to get a full picture of what actually happens when you set foot at the Sweden Rock Festival.
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Books on the topic "Rock music festivals"

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

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Robison, Greg. Ozzfest. New York: Rosen Pub. Group, 2009.

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Selevko, Andreĭ. "Rok-panorama - 86"... i ne tolʹko: Istoricheskie fotografii pervogo ofit︠s︡ialʹnogo moskovskogo rok-festivali︠a︡ : neizdannye arkhivy i︠a︡roslavskogo fotografa Andrei︠a︡ Selevko. [Place of publication not identified]: [publisher not identified], 2021.

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Gáncs, Dénes. A dallam diadala: A Táncdalfesztiválok története. Budapest: La Ventana, 2004.

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Cope-Faulkner, Paul. The nice people are here: Pop festivals in Lincolnshire. Heighington: Heritage Trust of Lincolnshire, 1999.

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

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

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

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Llano Macedo, Luis de, writer of foreword, Compeán, Justino, writer of supplementary textual content, and Rubli K., Federico (Rubli Kaiser), writer of supplementary textual content, eds. Yo estuve en Avándaro: 50 años. Ciudad de México: Trilce Ediciones, 2021.

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Stratone, Nelu. Rock în timpuri noi: [povestea fascinantă a anilor '90]. Timişoara]: Hyperliteratura, 2018.

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Book chapters on the topic "Rock music festivals"

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

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Kramer, Michael J. "The Psychedelic Public and Its Problems: Rock Music Festivals and Civil Society in the Sixties Counterculture." In Media and Public Spheres, 149–61. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206359_12.

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

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"ROCK FESTIVALS." In Music in the 20th Century (3 Vol Set), 536–37. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-399.

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

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Music festivals mattered to the larger development of American live music along multiple fronts in the two decades following the founding of the Newport Jazz Festival. Most saliently, festivals helped to push the business of live music more and more toward large-scale production, laying the groundwork for the arena and stadium rock economy. Because they so often had an aura of idealism surrounding them, however, music festivals could never be reduced to strictly commercial ventures. The combination of scale and singularity gave festivals the aura they would come to possess and made them flash points for contests over cultural values that coursed through the musical styles put on stage. This chapter traces the development of US music festivals from the establishment of the Newport Jazz Festival in 1954, to the Newport Folk Festival in 1959, and then into the era of the rock festival in the late 1960s. In jazz and folk alike—and in rock, where the influence of both would loom large—festivals came to stand for a host of tensions that characterized the social role of popular music in the post-war era.
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"Disseminating Popular Music: Pop and Rock Music Concerts, Festivals, and Shows." In Popular Music of Vietnam, 219–39. Routledge, 2008. http://dx.doi.org/10.4324/9780203892794-13.

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"A History of Japanese Rock Festivals and Live Music Venues." In Made in Japan, 155–72. Routledge, 2014. http://dx.doi.org/10.4324/9780203384121-18.

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Bowditch, Rachel. "Republic of the Imagination, Burning Man and the culture of radical self expression." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3020.

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Burning Man, it could be argued, is the best party on the planet and one of the most elaborate and complexly engineered. Where else could you have a dance party on a large duck where everyone is dressed as their fantasy avatars; or sit on an art car called ‘The Bleachers’ designed like stadium seating to watch and be watched, complete with referees in the standard black and white attire directing playa traffic; or mount a double-decker bus that resembles an underground rave in Eastern Europe; or dangle from cables as you smash your opponent to hard core punk rock at the Thunderdome; or find yourself at a large open-aired dance party with over 5000 people dancing to the world’s most famous DJs and electronic music acts such as Bassnectar and Beats Antique? Burning Man has elevated the art of partying to epic proportions from mobile niche environments to large-scale international acts drawing crowds of thousands. At Burning Man, you can create your own experience and any desire you might have can be found and fulfilled on the playa. It is as if everyone’s fantasy is being played out simultaneously and it is in the collision of these fantasies that meaningful encounters occur. However, to confine and reduce analysis of Burning Man to ‘the world’s best party’ would be to overlook the intricate complexity and layers that constitute this epic annual desert event. The evolution and history of the event has been well documented from a variety of perspectives (See Doherty, Bowditch, Chen, Gilmore, and others) so I will not repeat those histories here. The first official book to chart the history of the event was Brian Doherty’s This is Burning Man: The Rise of a New American Underground (2006) mapping the early formative years of the event from its inception in 1986 on Baker Beach in San Francisco, the impact of the Cacophony Society on the development of the Burning Man ethos, to the transfer of the event to the Black Rock Desert in Nevada in 1990.
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Laws, Chantal. "Responsible Entertainment Greening festivals and events." In Key Issues in the Arts and Entertainment Industry. Goodfellow Publishers, 2011. http://dx.doi.org/10.23912/978-1-906884-20-8-1453.

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This chapter explores the contemporary issue of responsible production within the arts and entertainment industries, focusing on live music events and festivals in particular. In its broadest context the entertainment industry is vast, encompassing 18 unique sectors (Moss, 2009), each providing a plethora of tangible and intangible products that, according to Vogel (2007), is estimated at US$1 trillion annually. This makes it the largest industry in the world, generating more revenue and growing at an exponential rate as leisure time becomes increasingly important as an escape from,or antidote to, the pressures of modern life. Live events bridge the distinction between high art products which are considered as a ‘merit good’ (Pratt, 2005) and forms of popular culture and leisure that can be consumed both at home and in designated public spaces. Hughes (2000) states that live performance of both art and entertainment is a distinct area for management, as such events require active participation on the part of an audience. As pop/rock consumers can now choose from ‘an almost limitless number of events’ (Mintel Group, 2008) at any given time, the viability of continued growth in the industry becomes of real concern, and the impact of such intense consumption levels can no longer be ignored.
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Zolten, Jerry. "“Loves Me Like a Rock”." In Great God A'Mighty! The Dixie Hummingbirds, 255–94. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0008.

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Abstract As rock ‘n’ roll evolved into the 1960s, gospel vocalizing and stagecraft continued to influence solo artists and vocal harmony groups that evolved from doo-wop to soul and Motown: Ray Charles, James Brown, Wilson Pickett, Aretha Franklin, the Miracles, the Temptations. The Dixie Hummingbirds and black gospel itself evolved against the backdrop of generational rebellion, civil rights unrest, war protest, and assassinations. The trend shifted from quartets to soloists and choirs, the gospel fan base broadening as the music became appreciated both as an art and as roots music form. President Kennedy was assassinated and in 1964, the Hummingbirds made their television debut on the program TV Gospel Time. They performed “Our Prayer for Peace” with a new verse about the assassination. The Hummingbirds adapted to the tastes of the times and remained Peacock’s most consistently bestselling gospel artists. Multiple tracks were recorded and strategically released as singles every few months followed by album collections. Robey sold the Peacock catalog to ABC records. The Hummingbirds had an international following and performed at venues such as Disneyland, Madison Square Garden, and both the Newport Jazz and Folk Festivals. Paul Simon invited the Hummingbirds to collaborate on “Loves Me Like a Rock,” which in their own rendition won them their first Grammy. They also recorded with Stevie Wonder. The Hummingbirds suffered a setback in 1976 with the death of bass singer William Bobo. They soldiered on and more than six decades into their career were dubbed the “Iron Men of Gospel.”
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Conference papers on the topic "Rock 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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