Rozprawy doktorskie: „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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3

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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4

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 festivaliseringenThe 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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5

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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6

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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7

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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8

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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11

Turesson, Eric. "STRATEGIC INTERNET MARKETING FOR MUSIC FESTIVALS IN OSLO : A qualitative case study on two music festivals practise of strategic Internet marketing." Thesis, Högskolan i Halmstad, Sektionen för ekonomi och teknik (SET), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17979.

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The overall aim of this study was to research how music festivals in Oslo practise strategic Internet marketing and how these could improve their marketing throughout strategic Internet marketing. The interest of this study evoked since there was a lack in previous research in this field. Other issues to explore were marketing particularities and how these could be solved. Two music festivals in the city centre of Oslo were interviewed. The study was based on Chaffey and Smith’s (2008) SOSTAC planning framework, together with previous research findings in the field of strategic Internet marketing. The result showed a primarily use of informal goals, together with actions and evaluation based on gut feelings. Focus was placed on creating additional value and thus loyalty. Most applied marketing were connected to Web 2.0 techniques. The study found several shortcomings concerning the practise of strategic Internet marketing. Suggested improvements included use of online measurement systems and a strategic approach towards objectives and evaluation. The study found two distinct characteristics including the importance of visitor activity and loyalty. Web 2.0 techniques, the website and co-branding activities were concluded to be the most effective types Internet marketing. These together with an enhanced use of Web 2.0 techniques were also concluded to be the solution to marketing peculiarities.

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Petitinga, Carolina Santos. "Festival de verão de Salvador: significado para o turismo, a música independente, a economia e o marketing da cidade." Programa de Pós-Graduação em Cultura e Sociedade da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/10605.

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145f. Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:20:26Z No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T19:03:38Z (GMT) No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) Made available in DSpace on 2013-05-08T19:03:38Z (GMT). No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) Previous issue date: 2008 Os festivais de música têm dado visibilidade às cidades e movimentado a economia local, através da geração de emprego e renda. Eles atraem investidores, empresas, visitantes e profissionais qualificados. Funcionam também como alternativas para a distribuição da música e servem de vitrine para novos talentos musicais. Muitas cidades tornam-se conhecidas e são incluídas no roteiro de férias de muitos turistas por conta dos festivais que realizam, alguns deles mundialmente famosos. Esta dissertação examina o significado desses festivais para o turismo, geração de emprego e renda, produção de música independente e marketing da cidade, através do estudo de caso do Festival de Verão Salvador. A partir da revisão da literatura especializada, de entrevistas qualificadas e de uma pesquisa amostral aleatória e estratificada realizada in loco, aplicou-se a metodologia padrão de estudos de impacto econômico de eventos. Salvador

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13

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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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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Oliva, Codina Jordi. "Cultural impact evaluation through attendee's emotions in the context of music festivals." Doctoral thesis, Universitat Oberta de Catalunya, 2021. http://hdl.handle.net/10803/672194.

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As a type of cultural event, music festivals have seen great economic and social success in recent decades. In their pursuit to understand the experience that such events elicit in the people attending them, scholars have devised a number of models grounded in various disciplines to explore the event experience. However, little attention has been paid to the internal cultural development that festivalgoers undergo as a result of the emotions they experience in music festival settings. Through quantitative and qualitative analysis, this study shows that music festival experiences are an opportunity to develop specific features of festivalgoers' cultural identity and arouse intense emotions. It also draws connections between these intangible analyses and the intentions that festival organizers bring to the organization of such events. Com a tipus d'esdeveniment cultural, els festivals de música han triomfat econòmicament i socialment al llarg de les últimes dècades. A l'hora d'intentar comprendre l'experiència que aquests esdeveniments provoquen al públic, els acadèmics han proposat diversos models d'avaluació de l'experiència de l'esdeveniment des de diverses disciplines. No obstant això, s'ha prestat poca atenció al desenvolupament cultural intern dels assistents en relació amb les emocions experimentades en el context dels festivals de música. Aquest estudi revela -mitjançant una anàlisi quantitativa i qualitativa-l'experiència dels festivals de música com una oportunitat per desenvolupar trets específics de la identitat cultural del públic assistent juntament amb el despertar d'emocions intenses. Finalment, relaciona aquestes anàlisis intangibles amb la intencionalitat que els organitzadors dels festivals donen a l'organització de l'esdeveniment. Como tipo de evento cultural, los festivales de música han triunfado económica y socialmente en las últimas décadas. Al tratar de comprender la experiencia que tales eventos provocan en su público, los académicos han propuesto diversos modelos de evaluación de la experiencia del evento desde varias disciplinas. Sin embargo, se ha prestado poca atención al desarrollo cultural interno de los asistentes a los festivales en relación con las emociones experimentadas en los contextos de los festivales de música. Este estudio revela -a través de un análisis cuantitativo y cualitativo- la experiencia de los festivales de música como una oportunidad para desarrollar rasgos específicos de la identidad cultural del festivalero junto con el despertar de emociones intensas. Por último, relaciona estos análisis intangibles con la intencionalidad que los organizadores del festival dan a la organización del evento. Societat de la informació i el coneixement

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Andrews, Christine. "Nineteenth century English oratorio festivals : chronicling the monumental in music." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bdeff62f-fead-42a7-9724-5c79d5c2cdf9.

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Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value of a performance was directly in proportion to the size of the performing forces and the audience. A framework devised mainly from Stephen Little's definition of monumental art (2004) is used as a critical tool to examine from a new perspective aspects of nineteenth-century oratorios such as 'physical scale', 'breadth of subject matter', and 'ambition to be of lasting significance'. Furthermore, this dissertation argues that a complex ideology of an English musical monumentalism underpinned the concatenation of circumstances that allowed oratorio festivals to flourish at this time. The spectacle of the Crystal Palace in London and the Great Handel Triennial Festivals it housed are contrasted with the provincial festivals, such as those of Bristol, Manchester, Liverpool, Birmingham, and Leeds. The analyses of the latter rely on substantial original material uncovered from rich primary source documents about the provincial oratorio festivals and the buildings in which they were held. Musical scores themselves, including some of Sir Michael Costa's orchestral manuscripts, are also examined as monuments. A comprehensive study of these festivals is well overdue and this study will aim to understand why these events grew to such a mammoth size at this time.

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17

Stettler, Stephanie L. "Sustainable Event Management of Music Festivals: An Event Organizer Perspective." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/257.

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Sustainably managed music festivals have significant value and can provide a multitude of benefits to a healthy, sustainable and desirable society if their negative impacts are mitigated and positive impacts cultivated. To reach this great potential, sustainable event management of music festivals must become widely adopted and expanded as common practice. To drive this improvement of sustainable event management, there is a need to first understand the barriers and success factors event organizers face moving their music festivals toward sustainability. This study uses a research design of mixed quantitative-qualitative methods: a survey of thirty diverse music festival organizers across the United States and interviews with five selected survey participants. Research draws on pertinent literature from sustainability theory and practice, previous research on sustainable event management, existing strategies of sustainable events, and lessons from organizational change studies. Findings revealed seven key barriers and four success factors associated with sustainable event management of music festivals as well as three specific needs of event organizers to improve sustainable event management. With these findings, seven strategies are presented to help event organizers adopt and improve sustainable event management of music festivals. This study is significant because it fills an important gap in the academic literature on events and sustainability. Additionally, this study is immediately applicable to Untied States music festivals. The findings were drawn directly from the perspectives and experiences of event organizers, and the strategies are designed to be specifically applied to their sustainable event management work.

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Brown, Kwesi Ewusi. "SOCIAL CONFLICTS IN CONTEMPORARY EFFUTU FESTIVALS." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124803078.

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Dias, Joel Alexandre Rosa. "MUSICTRIP: Agência de viagens online especializada em festivais de música." Master's thesis, Escola Superior de Hotelaria e Turismo do Estoril, 2012. http://hdl.handle.net/10400.26/4455.

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A participação em festivais de música é, actualmente, uma prática crescente. Alguns dos festivais, nacionais e estrangeiros, vêem, de ano para ano, as suas edições esgotadas com diversos meses de antecedência. Um número considerável dos seus participantes provém de países estrangeiros, à procura de dias de música, lazer e aventura. Diversos autores aliam esta prática ao chamado music tourism. De facto, não raros são os festivais comunicados e vendidos como verdadeiros pacotes turísticos. Publicitados como uma forma acessível de fazer férias, os festivais possuem todos os elementos necessários para a evasão e lazer: diversão, alojamento e sol. Em mutação estão também os canais de comércio, assistindo-se a alterações no processo de compra e venda de produtos e serviços turísticos. O recurso a intermediários tem sido progressivamente substituído pela compra directa, sobretudo através de meios online e de novos conceitos como o dynamic packaging e o B2C. Este trabalho tem por fim a elaboração de um Plano de Negócios de uma agência de viagens online especializada em festivais de música. Trata-se de um modelo de negócio que pretende agregar, através de um site, diversos produtos e serviços turísticos, permitindo a todos os que desejam participar num festival de música a composição e compra do seu próprio pacote turístico. Para validar o conceito de negócio e medir a apetência do mercado nacional para um projecto desta dimensão, foi realizada uma pesquisa primária tendo por método de estudo a realização de inquéritos por questionário. Os resultados obtidos, quer no estudo de mercado quer no plano financeiro, onde indicadores fundamentais, como a VAL e a TIR, foram sempre positivos, permitem concluir que um projecto desta natureza poderá ser económica e financeiramente viável. The participation in music festivals is nowadays a growing practice. Year by year, part of the festivals, domestic and overseas, notice sold out editions several months before. A considerable number of their participants is from abroad, looking for days of music, entertainment and adventure. Many authors connect this practice with the so-called music tourism. In fact, many festivals are communicated and sold as real vacation packages. Advertised as a different but affordable way of doing vacations, festivals have all the necessary elements for evasion and leisure: fun, sun and accommodation. Trade channels are also in mutation, perceiving changes in the process of buying and selling travel services and products. The use of intermediaries has been progressively replaced by direct purchase, mainly through online channels and new concepts as dynamic packaging and B2C. This project aims the development of a Business Plan for an online travel agency focused in music festivals. It is a business model that intends to aggregate, through a website, many travel products and services, allowing all the ones who wish to participate in a music festival to create and purchase their one vacation package. To validate this business concept and to measure the appeal of the national market for a project with this feature, a primary research was done having for methodology the realization of a survey by questionnaire. The results, both in the market research and in the financial plan, where key indicators, as NPV and IRR, were always positive, allow concluding that a project of this nature can be economically and financially viable.

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Kendall, Laurie J. "From the liminal to the land : building Amazon culture at the Michigan Womyn's Music Festival /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3499.

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Duerksen, Jessica Anne. "“It’s festival time again”: Sounding Tensions with/in an A/R/Tographical Inquiry into Participation in Competition Music Festivals." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32989.

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Reflecting on my musical past, my annual participation in competition music festivals in solo and ensemble categories at the local and provincial levels shaped my music education as well as my development as a music educator. I inquire into how re/visiting moments of tension in my lived experiences as a participant in competition music festivals can facilitate my current praxis as artist, researcher and teacher. My inquiry is informed by understandings of a/r/tography as an arts-based educational research methodology. I inquire into these sites of music-making drawing on a theoretical framework of a soundscape, a concept originally proposed by Canadian composer R. Murray Schafer, to generate rhizomatic pathways with/in my research. Through this framework I consider how musical form informs the processes and structures of my thesis. Emphasizing a/r/tography as process-oriented inquiry, understandings emerge through music-making, arts-based journaling and autoethnographic renderings. Rhizomatic soundscapes evoke new understandings and questions contributing to literature on student perspectives participating in competition music festivals and teaching and learning in one-to-one music instruction.

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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.

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Payne, Alyson Marie. "Creating Music of the Americas in the Cold War: Alberto Ginastera and the Inter-American Music Festivals." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1165436117.

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Richardson, Neil Andrew. "The adoption of sustainable marketing practices within the UK music festivals sector." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13578/.

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This research investigates the efficacy of communications in matters germane to sustainable practices within the UK independent music festival sector. To do this the study identifies Triple-Bottom-Line based sustainability and/or marketing practices adopted by stakeholders and how they (and consumers) perceive related communications. The ‘sector’ is complex, fast changing, a major contributor to the UK creative economy and is forecast to grow. It is typical of the creative economy where a small number of large firms counterbalances a large number of essentially local, micro-enterprises. Largely independent, these smaller festivals comprise a variety of multi-stakeholder businesses with differing aims and objectives. Micro-enterprises have different characteristics (to larger companies), which dictate their marketing approaches. However sustainability studies often focus on larger manufacturers, which mirrors how most extant approaches to marketing were developed i.e. from experiences in larger companies. Stakeholders must align their values with changing consumer behaviour (e.g. increasing ethical and environmental spending patterns). Festival organisers must communicate with a diverse range of stakeholders and this case study investigates perceptions and attitudes germane to the communication of sustainable practices. Festivals are unlike other events or services as they are based almost entirely upon high degrees of consumer engagement often in areas of outstanding natural beauty. Despite this scholars have largely ignored them. Festivals are temporary townships, generally transitory, occurring infrequently and limited in time. Governments regard them positively owing to the economic sustainability generated, their ability to generate a sense of collective responsibility and encouraging community involvement. Many researchers apply functional ‘silo-based approaches’ to events. The customer-centric disciplines have largely failed to embrace sustainability. This study is inter-disciplinary being located in the overlap between sustainability and customer centric disciplines. Sustainable Marketing (SM) is gaining credence and increasingly adopted by progressive marketers. This research identifies recognised marketing and sustainability practices adopted by those micro-enterprises who ‘deliver’ festivals. Festivals operate in an increasingly competitive environment hence the implementation of effective marketing approaches is a priority. This study provides insights into marketing communications (‘marcomms’) and positioning that will prove useful for practitioners and academics. Few studies of the adoption of sustainability within services or arts exist. This study seeks to address this, contributing to the growing area of research into sustainability within the services and leisure economy. Semi-structured interviews were carried out with 19 stakeholders representing enterprises delivering 7 independent music festivals in the 2014 festival season. Parallel to this 119 festivalgoers were surveyed which enabled triangulation and provided useful insights.

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Costa, Leandro Braz da. "Festivais de música em área de segurança nacional : a periferia da música popular brasileira na cidade do Rio Grande (1970-1976)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/117550.

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Este trabalho tem como foco de interpretação histórica a produção musical autoral dos compositores riograndinos destinada à participação em festivais de música realizados ao longo da década de 1970 na cidade do Rio Grande – RS. Neste sentido, balizando a pesquisa em uma abordagem contextual, procuro descrever como os artistas da época, desvinculados dos meios de comunicação, da indústria do disco e do mercado cultural, produziam suas canções, em um ambiente hostil, onde a censura, a repressão e a tortura, foram práticas comuns, e os festivais de música um dos poucos canais de expressão cultural da população local, ainda que sofressem a interferência direta de grupos ligados as elites políticas e econômicas que possuíam interesses bem definidos quanto aos proveitos que estes eventos poderiam reverter. This work focuses on the historical interpretation of the musical production of composers riograndinos copyright intended participation in music festivals held throughout 1970 in Rio Grande - RS. In this sense, it marks out the research in a contextual approach, I try to describe how the artists of the time, unlinked media, the recording industry and the cultural market, producing their songs in a hostile environment, where censorship, repression and torture, were common practices, and music festivals one of the few channels of cultural expression of the local population, though suffered direct interference from groups linked to political and economic elites who had well-defined interests regarding the income that these events could reverse.

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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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Amaral, Luiza Spínola. "A mídia e o jazz no Brasil: investigação em torno da recepção crítica dos festivais de jazz na imprensa paulistana." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4283.

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Made available in DSpace on 2016-04-26T18:10:51Z (GMT). No. of bitstreams: 1 Luiza Spinola Amaral.pdf: 5391999 bytes, checksum: a0305edbd9d9a470ac4abfd8fafaecfb (MD5) Previous issue date: 2011-05-06 Conselho Nacional de Desenvolvimento Científico e Tecnológico The main objective of this research is to rescue the historical memoire of brazilian popular music through the media coverage that jazz festivals get from São Paulo's press. It's also about focusing on the relationship between the cultural industry and the critics, exposing how our musical memory is smothered by a certain sociological view of jazz as just another product of american culture and how this line of opinion, suspicious as it is, counterpoints the semiotic stream of critics that, among other musicologists, belongs Augusto de Campos. It's a documental and bibliographical research. The core of the research is a gathering of journalistic stories exposed here, establishing an analytical overview of São Paulo's press media O objetivo desta pesquisa é levantar o registro histórico da memória da música popular no Brasil, através de um acompanhamento da cobertura jornalística que os festivais de jazz recebem na mídia impressa paulistana. Trata-se também de enfocar as relações que se estabelecem entre a crítica e a indústria cultural, mostrando como nossa memória musical é inflexionada por certa visão sociológica a partir da qual se enxerga o jazz como mais um produto da indústria cultural norte-americana, e como a esta linha que diríamos marcada pela suspeição contrapõe-se, a partir de determinado momento, à corrente dos semioticistas, a que pertence, enquanto musicólogo, Augusto de Campos. Metodologicamente trata-se de uma pesquisa bibliográfica e documental. O corpus da pesquisa constitui-se no conjunto de matérias críticas jornalísticas aqui em exame, conjunto do qual foi recortada uma parcela de textos a analisar

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Laney, Jordan LeAnne. "Recreating and Deconstructing the Shifting Politics of (Bluegrass) Festivals." Diss., Virginia Tech, 2018. http://hdl.handle.net/10919/96931.

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Utilizing archival research from Berea College's Appalachian Sound Archives and Appalachian State University's Belk Special Collection, more than 45 survey results, 15 extensive interviews, and participant observations from 15 festival field sites, I examine bluegrass festivals as sites of identity production through feminist methodologies and a participatory ethnographic approach. This requires careful analysis of the nature of the genre's audience and audience members' investments in the process of framing the performance of bluegrass music's history through a shared historical narrative. More broadly, this analysis clarifies the nuanced role of bluegrass festivals in constructing generalizations about place-based identities, race, and gender within the performative space of festivals. In this assessment, the political and economic actions generated as a result of bluegrass performances are explored as temporal and spatial organizers for the (re)production and consumption of generalized ideals which are projected onto both literal and figurative southern stages. I perform this research utilizing the conceptual frameworks of theories of space and place, politics of culture, and feminist methods, combined through critical regionalism. My hypothesis is that bluegrass festivals serve as spaces to perform white patriarchal capitalist desires while relying on marginalized and hidden cultural productions and exchanges. My findings reveal that in order to gain a fuller understanding of politics culture, the stage must be subverted and the researcher's gaze must go beyond that which is typically traditionally framed to encompass the festival in its entirety. This requires seeking out not merely that which is intentionally framed but also narratives that create the stage or are omitted by dominant ways of interpreting the festival space. Ultimately, I find the significance of temporary physical sites for identity construction and the potential for dynamic social change within these spaces relies on the ability of scholars and participants alike to re-historicize and retell dominant narratives. Ph. D.

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Lotter, Beatrix Naude. "Die geskiedenis van die Stellenbosse studentesangfees, 1946-1980." Thesis, Stellenbosch : Stellenbosch University, 1986. http://hdl.handle.net/10019.1/65126.

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Thesis (MMus) -- Stellenbosch University, 1986. INLEIDING: Die Sangfees op Stellenbosch is tans nog’n belangrike jaarlikse musiekaktiwiteit en studente-geleentheid. Die vrae rondom die geskiedenis daaragter was die aansporing tot die studie, en met hierdie ondersoek sal gepoog word om vrae te beantwoord soos die volgende: (1) Watter faktore het aanleiding gegee tot die ontstaan; (2) wanneer en deur wie is die Sangfees gestig; (3) hoe het die heel eerste Sangfees daar uitgesien; (4) hoe is dit met verloop van jare georganiseer en deur wie; (5) neem dit tans nog dieselfde vorm aan as destyds; (6) hoe belangrik was die Sangfees tydens die aanvangsjare en watter plek beklee dit teen 1980 in die Stellenbosse musieklewe. Daar sal ook gelet word op die reaksie wat die Sangfees ontlok het, hetsy deur musiekkenners, die pers, studenterade, die studente self, dit wil sê almal wat deur die jare daarby betrokke was. 'n Ander belangrike aspek wat nagevors sal word is die musiek wat tydens Sangfees uitgevoer is sedert die ontstaan tot en met 1980. Het die styl van die Sangfeesprogramme mettertyd verander en indien weI, wat was die aard van die veranderinge?

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Cary, Melissa A. "Making Music Sustainable: The Case of Marketing Summer Jamband Festivals in the U.S., 2010." TopSCHOLAR®, 2012. http://digitalcommons.wku.edu/theses/1206.

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Commercial music festivals in the United States have been growing in popularity since the 1960s. Today, many weekend-long music festivals are annual events spanning a variety of genres and often occur at the same locations each year. My research compares and contrasts how jamband music festivals are marketed as sustainable events and attempts to determine how the advertised sustainable practices are implemented and utilized at selected jamband music venues. The jamband genre of music emphasizes musical improvisation and borrows from other styles of music: rock, electronic, jazz, blues, folk, and bluegrass. In addition, any impacts these festivals have upon the local environment are evaluated. Sustainability is a topic often used as a marketing strategy when promoting summer jamband music festivals. Fans of this genre are identified with a culture that is similar to the environmentally conscious hippie culture of the 1960s and 1970s. The data for this research were obtained through field observations, interviews, surveys, and content analyses of promotional materials. It is my hypothesis that the festivals’ sustainable practices will be adopted by local communities as the festivals leave both a physical and cultural imprint upon the local landscapes, which is determined through attendee surveys and interviews with local decision makers and festival promoters. I also hypothesize that the geographic location of each will have an influence on the participation in such practices by the festival attendees, as I believe those in attendance at the High Sierra Music Festival in California will be more likely to have green lifestyles as California has been a leader in environmentally conscious innovations and attitudes, whereas other states, Illinois and Tennessee, lag behind. The data collected were mapped and analyzed to determine the effectiveness of environmental sustainability promotions and practices at the fan level as well as the local level. This research fills a gap within the geographic literature as no research exists examining the spatial relationship between music festivals and sustainability. Additionally, my research highlights that popular cultural events can be opportunities to engage in meaningful environmental education on issues such as recycling, and environmental sustainability.

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Kendall, Paul. "Kaili, the homeland of 100 festivals : space, music, and sound in a small city." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/964vw/kaili-the-homeland-of-100-festivals-space-music-and-sound-in-a-small-city.

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This thesis examines the production of social space in Kaili, a small city in southwest China, through its branding as “the homeland of one hundred festivals”, inhabitants’ conceptualizations of music, amateur music-making practices, and the construction of the built environment. Drawing on Henri Lefebvre's triad of social space as a basic framework, I explore the complexity of the city through multiple aspects of the relationship between space, music and sound: how the built environment of post-Mao China hinders and hides amateur music, even in a city branded as a place of authentic (yuanshengtai) ethnic folk music; how disparities between the branding and living of Kaili have produced a discourse whereby citizens relocate authentic musical practices to an imagined rural space outside the city; and how amateur musicians have constructed hierarchies of amateur musical space within the city. This thesis makes a distinctive contribution across a range of disciplinary and theoretical interests: Chinese studies, multi-disciplinary debates about Lefebvre’s spatial theory, and urban studies. For Chinese studies, it gives detailed scrutiny to Lefebvre’s spatial theory in considering the historical and recent formation of urban space in China, and in so doing goes beyond the truism that social space is socially produced. It intervenes in ongoing discussions about Lefebvrian theory outside the parameters of Chinese studies, by grounding what has been a predominantly abstract discussion in ethnographically and textually-based research. My discussion of city branding and everyday musical activity elaborates Lefebvre’s theory, both modifying and adding to his triad of perceived, conceived and lived space.

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Steinberg, Ella Nora Parks. "“Take a solo”: An analysis of gender participation and interaction at school jazz festivals." Scholarly Commons, 2001. https://scholarlycommons.pacific.edu/uop_etds/2469.

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This study documented participation at school jazz festivals according to gender and instrument and explored interaction patterns between clinicians and students to determine if participation patterns in jazz education resemble those in math and science, where females have been found to be underrepresented in high-level courses. This study analyzed data collected at two middle and high school jazz festivals with male and female students participating in stage performances and in post-performance clinics. Out of a total student population of 556 performers, males were found to represent a disproportionate percentage of the population (males = 70% and females = 30%). Significantly more males were found on all instruments, with the exception of piano, where females represented the majority (male pianists = 42.5% and female pianists = 57.5%). Solo patterns revealed that even though there were more female pianists, male pianists were featured as a soloist a total of 17 times, in contrast to 5 total solos for female pianists. Categorical data from solo patterns for all instruments showed that males were featured significantly more often as a soloist on saxophone and piano. Given the research on sex-stereotyping of instruments, where saxophone and piano are considered as less “masculine” instruments, this research noted that no significant difference in solo patterns were found between males and females who perform on the more “masculine” instruments (trumpet, trombone, drums, and bass). Overall, males did solo significantly more often than girls, based on the proportion of boys to girls in the total sample. Interaction analysis, using a modification of the INTERSECT observation form utilized by researchers Sadker & Sadker, of post-performance clinics found that males dominated all interactions. Males raised their hands more often, were called on and called-out more often and were asked to play at a higher rate than female performers. Results suggest that jazz education might benefit from intervention strategies similar to those implemented in math and science education to narrow the participation and interaction gap between males and females.

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Reis, Estêvão Amaro dos 1971. "O Festival do Folclore de Olímpia, São Paulo : uma festa imodesta." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284551.

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Orientador: Lenita Waldige Mendes Nogueira Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-22T01:38:53Z (GMT). No. of bitstreams: 1 Reis_EstevaoAmarodos_M.pdf: 36404177 bytes, checksum: 4ea065e275a729d0f8f42fca8368d111 (MD5) Previous issue date: 2012 Resumo: O Festival do Folclore de Olímpia - São Paulo (FEFOL) o maior evento do gênero no país, completou em 2011 quarenta e sete anos de existência. Em seu espaço são encontradas manifestações folclóricas ou tradicionais de todas as regiões brasileiras. A partir do pressuposto de que para alguns grupos folclóricos o FEFOL tornou-se o principal espaço de realização das suas atividades e considerando que o deslocamento dos seus locais de origem para outro espaço geográfico e social provoca transformações nas suas práticas, o presente trabalho investiga a relação entre estas manifestações e o novo contexto em que estão inseridas. A pesquisa realizada busca conhecer e compreender quais os motivos que levam os grupos a percorrer centenas de quilômetros todos os anos para participar do FEFOL, a influência do Festival do Folclore de Olímpia nesse processo e suas implicações para os ritos e para os integrantes destes grupos. O trabalho dedicou especial atenção aos grupos Batalhão de Bacamarteiros de Carmópolis (Sergipe), Terno de Congo Chambá (Minas Gerais), Terno de Congada Chapéu de Fitas (São Paulo) e o grupo Sabor Marajoara (Pará) e foram utilizadas, ao lado da bibliografia existente, entrevistas semi-estruturadas com os integrantes dos grupos e organizadores do FEFOL em épocas distintas, bem como o material audiovisual produzido em trabalho de campo e pelo próprio Festival Abstract: Olímpia's Folklore Festival - São Paulo [Festival do Folclore de Olímpia (FEFOL)], the largest event of its kind in the country, completed forty-seven years of existence in 2011. Folkloric or traditional expressions from all regions of Brazil can be found there. Starting from the assumption that FEFOL became the main place for some folk groups to carry out their activities and considering that the displacements from their original places to another geographic and social area causes changes in their practices, this work investigates the relationship between these expressions and their new insertion context. This research intends to get to know and understand the reasons why those groups travel hundreds of miles every year to participate in the FEFOL, the Festival's influence in this process and its implications for the rites and the members of these groups. A special attention was dedicated to the groups "Batalhão de Bacamarteiros de Carmópolis" (from Sergipe), "Terno de Congo Chambá" (from Minas Gerais), "Terno de Congada Chapéu de Fitas" (from São Paulo) and the group "Sabor Marajoara" (from Pará); alongside the existing bibliography, semi-structured interviews with group members and with FEFOL's organizers at different moments were used, as well as audiovisual material produced in the field research and by the Festival Mestrado Fundamentos Teoricos Mestre em Música

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McDermid, John Aaron, and John Aaron McDermid. "Reimagining the Art of Choral Programming: Innovations of Larry L. Fleming in his Annual Christmas Festivals with the National Lutheran Choir." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621783.

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Larry L. Fleming is a prominent figure in American church music, widely known for his compositions and choral arrangements as well as his creative approach to concert programming as the conductor the National Lutheran Choir. No formal research has yet been done on Fleming, and I believe it is a fitting time for an examination of his contributions to choral music. In this study I will examine the unique choral programming techniques utilized by Larry Fleming in his annual Christmas Festival with the National Lutheran Choir. In particular, (1) his frequent use of short, fragmentary excerpts of larger musical works, (2) his use of sacred poetry from non-biblical sources for narration, and (3) the elimination of composer credits and composition titles in the body of the printed program. Audiences appreciate thematic programming,¹ and Fleming's methods offer tremendous opportunity for inventiveness on the part of conductors when planning concerts. I therefore contend that each of the three programming innovations listed above are viable and creative ideas other conductors could adopt in putting together their own thematic programs. In order to demonstrate this assertion, I created an original choral Christmas program utilizing his techniques. While the model program produced for this study replicates several of Fleming's programming innovations exactly as he used them I certainly do not recommend that conductors create concerts that are mere imitations of those produced by Fleming. It is my hope, rather, that this sample program will demonstrate the possibilities in creative programming, and will perhaps activate the imagination of conductors to devise their own unique approaches to programming. Since some readers may find my use of certain Fleming programming innovations controversial, particularly those related to the excerpting and adaptation of musical and poetic sources, this study will conclude with a brief look at how the philosophical issue of artistic license may affect the use of these innovations.

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Clayton, Diana. "Knowledge sharing in pulsating organisations : the experiences of music festival volunteers." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16238.

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This research aimed to investigate how and why festival volunteers share knowledge in pulsating UK music festival organisations, through an interpretation of volunteers’ lived experiences of knowledge sharing during the event lifecycle. Within the UK music festival sector, competition for leisure spend is high, and successful management of knowledge activities has the ability to improve business, innovation, and competitive advantage. Research across Knowledge Management Studies, Festival Studies, and People and Organisation Studies is dominated by positivist, quantitative research; whereas, this research investigated a fuzzy concept (knowledge) in a socially-constructed world (music festival) and interpreted multiple realities of social actors (volunteers). To do this, a qualitative, phenomenological study was suitable to explore in-depth experiences and unveil meanings attached to them. Purposive sampling using social media resulted in a sample of adult festival volunteers (n=28) being recruited. The methods selected enabled the ability to privilege the participants’ voice and their lived experience; these were diaries (n=11) and in-depth interviews (n=9), or both (n=8). The empirical data generated was interpreted using thematic analysis, using Atlas.ti. The findings of this research illustrate how and why volunteers share knowledge that is attributed to a successful process of volunteering, which enables effective knowledge management and reproduction. Where volunteers’ motivations are satisfied, this leads to bounce-back, episodic volunteering. Knowledge enablers and the removal of barriers create conditions that are conducive for knowledge sharing, which have similar characteristics to conditions for volunteering continuance commitment. Where volunteers do not return, the organisation leaks knowledge. The original contribution of this research is through its use of qualitative phenomenological methods to explore how and why UK music festival volunteers share knowledge.

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Salvatore, Andrea Maria. "Entertaining the global consumer the role of the festivals in marketing West African film and music /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457045398/viewonline.

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Grigg, Jodie. "A mixed methods study of drug use at outdoor music festivals in Western Australia and Victoria." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/79426.

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This study investigated the nature and extent of drug use associated with Australian music festivals, assessed current and potential future policy and practice strategies aimed at reducing the risk of drug-related harm at festivals, and developed evidence-based recommendations aimed at improving current strategies. Key recommendations included: expanding drug-checking services; ceasing the use of drug detection dogs; removing barriers to seeking medical attention; shifting to a harm reduction policy; and creating more enabling environments for harm reduction.

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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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Costa, Ana Luísa da Silva. "Viagens pela música: a ideia." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2013. http://hdl.handle.net/10400.5/6175.

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Trabalho de Projecto para obtenção do grau de mestre em Comunicação Social, com especialização em Comunicação estratégica Music as a form of expression is inherent to all individuals, regardless of their geographical or cultural roots, overcoming all barriers of gender, age or race. The growing economic exploitation of the musical areas transformed Music itself as one of the most desirable instruments of differentiation between brands and turned it into a weapon of powerful range in the cultural dynamics, on the impact it has on some local economies and the reputation of brands. Diversity is nowadays virtually present in all music festivals. We can find it both in the inner part (artists) and in its visitors, who are mobilizing worldwide, driven mainly by the desire to experience and the will to celebrate common tastes. In Portugal, Musical Tourism has never been an autonomic and independent sector. This area stills under the same tag of the generic term Cultural Tourism – epitaph that maintains under the same “custody” all other artistic disciplines. What is proposed in this project is the development of the idea to create a company that will operate in the Musical Tourism sector. The core business is to sell packages for festivals and music events worldwide. The objective is to create favorable conditions for anyone (regardless of their profile - social, economic and cultural) to ventures into new countries, attracted by a common passion: music. After the theoretical grounding presented in the first two chapters covering the themes of Musical Tourism and Experiential Marketing, it will be developed the idea to the company’s project, through a conceptual approach focusing on the very own business model. Music as a form of expression is inherent to all individuals, regardless of their geographical or cultural roots, overcoming all barriers of gender, age or race. The growing economic exploitation of the musical areas transformed Music itself as one of the most desirable instruments of differentiation between brands and turned it into a weapon of powerful range in the cultural dynamics, on the impact it has on some local economies and the reputation of brands. Diversity is nowadays virtually present in all music festivals. We can find it both in the inner part (artists) and in its visitors, who are mobilizing worldwide, driven mainly by the desire to experience and the will to celebrate common tastes. In Portugal, Musical Tourism has never been an autonomic and independent sector. This area stills under the same tag of the generic term Cultural Tourism – epitaph that maintains under the same “custody” all other artistic disciplines. What is proposed in this project is the development of the idea to create a company that will operate in the Musical Tourism sector. The core business is to sell packages for festivals and music events worldwide. The objective is to create favorable conditions for anyone (regardless of their profile - social, economic and cultural) to ventures into new countries, attracted by a common passion: music. After the theoretical grounding presented in the first two chapters covering the themes of Musical Tourism and Experiential Marketing, it will be developed the idea to the company’s project, through a conceptual approach focusing on the very own business model.

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Teixeira, Lúcia Helena Pereira. "Festivais de coros do Rio Grande do Sul (1963-1978) : práticas músico-educativas de coros, regentes e plateia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122549.

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A investigação, de caráter qualitativo (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), teve por objetivo geral compreender as práticas músico-educativas engendradas nos Festivais de Coros do Rio Grande do Sul, que foram realizados durante o período 1963-1978, na cidade de Porto Alegre, capital do estado do Rio Grande do Sul. Como objetivos específicos a pesquisa buscou: 1) analisar a constituição e a organização dos Festivais de Coros; 2) examinar como eram mobilizados os atores sociais para os/dos Festivais de Coros, as estratégias de envolvimento utilizadas, as redes de cooperação e interdependência que permitiam a realização dos eventos e as tramas que envolveram os atores sociais naquele contexto específico; 3) interpretar a participação de coros, regentes e plateia e as exigências colocadas para os participantes dos Festivais; 4) analisar quais eram as concepções sobre cantar em coro, que aprendizagens e que formações musicais ocorreram nos/a partir da participação nos eventos e quais foram as contribuições dos Festivais de Coros. Como procedimento investigativo trabalhei a partir da história oral, com a qual pude combinar fontes escritas (artigos de jornais da época, programas musicais, cartas) com fontes orais (pré-entrevistas e entrevistas). Para a compreensão das redes estabelecidas pelos participantes dos Festivais de Coros, empreguei o conceito de configurações ou figurações de Norbert Elias (1997; 2008). Pelo conteúdo dos Festivais analisados, foram úteis as visões teóricas que focam o canto coral como movimento sociopolítico ou nacionalista (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Estudos sobre festivais de arte também ajudaram a iluminar o campo empírico (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Práticas músico-educativas foram se constituindo e sendo propaladas a partir da ação dos agentes participantes dos Festivais. A partir de uma comissão organizadora foi institucionalizada a Associação dos Festivais de Coros do Rio Grande do Sul, que passou a mobilizar atores internos (coros, regentes, imprensa e público) e externos (autoridades, governos, patrocinadores e apoiadores). Examinar o que era exigido e que dinâmica movia regentes, coros e público a participar dos Festivais de Coros, ajuda a compreender as aprendizagens geradas e impulsionadas pelo contexto. Os resultados da pesquisa mostram as formações musicais de cantores, regentes e público ocorridas a partir de concepções sobre cantar em coro e do habitus (ELIAS, 1997) gerado na e pela participação nos Festivais, além de outras contribuições impulsionadas por aqueles eventos. This research, of qualitative frame (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), had as objective to understand the music-educational practices taken place in the Rio Grande do Sul Choir Festivals, held during the period 1963-1978 in the city of Porto Alegre, capital of the state of Rio Grande do Sul, Brazil. Specific objectives of this research were: 1) To analyze the constitution of the Choir Festivals; 2) To exam how social actors were mobilized for the/from the Choir Festivals, as well as the engagement strategies used in it, the cooperation networks and interdependence which allowed the events to take place and the wefts which involved social actors in that specific context; 3) To interpret the participation of choirs, conductors and public, as well as the demands requested to the participants of the Festivals; 4) To analyze which were the conceptions about choral singing, which apprenticeships and musical formations occurred in the/from the participation in the events, and which were the contributions left by the Choir Festivals. As a research procedure I worked with oral history, with which I could combine written resources (newspaper articles of that period, musical programs and letters) with oral resources (pre-interviews and interviews). To understand the networks established by the participants of the Choir Festivals I used the concept of configuration or figuration by Norbert Elias (1997; 2008). Through the content of the analyzed Festivals, it were useful the theoretical visions that focus choral singing as a sociopolitical or nationalistic movement (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Studies about art festivals also helped to throw light over the empirical field (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Musiceducational practices were constituted and propelled from the action of the participants agents of the Festivals. An organized committee was the start to institutionalize the Rio Grande do Sul Choir Association, which began to mobilize internal actors (choirs, conductor, press and public), and external actors (authorities, governments, sponsors and supporters). To examine what was requested and what dynamics moved conductors, choirs and public to participate in the Choir Festivals, helped to understand the apprenticeships generated and driven by the context. The results of the research show the music formation of singers, conductors and public generated from conceptions of choral singing and the habitus (ELIAS, 1997) generated in the/by the participation in the Festivals, as well as other contributions driven by those events.

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Törnmarck, Oskar, and Johannes Wikström. "Music For Sale? : Umeå Open & Umeå International Jazz Festival - A Study in Event Marketing." Thesis, Umeå University, Umeå School of Business, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-25536.

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Umeå is a city that is known for its music scene. Credible bands and artists have consequently sprung out and put the city on the map for as long the authors of this paper can remember. The city has a specific image and this study seeks to shine a light on how this came to be. Has there been a conscious marketing strategy in order to gain the reputation that Umeå has, or is the city’s music scene so prominent that it speaks for itself? Data for the study were collected through conducting qualitative interviews with the producers of the two music festivals Umeå Open and Umeå International Jazz Festival. The results show that cultural visions and marketing are constantly interacting, but to the authors’ knowledge, no conscious decisions have previously been taken to market Umeå as a city of music. Still, with current acts like Deportees, David Sandström and Frida Hyvönen just to mention a few, the image of Umeå is more justified than ever.

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Archer, Ken Joseph. "The Brooklyn Carnival a site for diasporic consolidation /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236386011.

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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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Boubia, Amina. "Les nouvelles formes de production du politique dans le monde arabe à l'exemple des festivals de musique au Maroc : culture et politique en contexte autoritaire." Thesis, Paris, Institut d'études politiques, 2014. http://www.theses.fr/2014IEPP0029.

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Les festivals de musique s'étant constitués progressivement depuis le milieu des années 1990 en un véritable phénomène de société au Maroc, cette thèse analyse, dans une perspective comparatiste, en quoi ces événements artistico-culturels et festifs favorisent des formes nouvelles, non-conventionnelles, de production du politique dans le monde arabe entre contestation et relégitimation de l'ordre établi. D'une part, les festivals de musique, appréhendés par le biais d'une analyse culturelle de l'action collective et des mouvements sociaux, révèlent un espace politique alternatif au potentiel initial fortement subversif, à l’origine d’une Nayda post-islamiste. D'autre part, les différents processus de récupération et de cooptation, directes et indirectes, dans lesquels entrent peu à peu ces événements, illustrent les ressorts de la domination et d'une politique culturelle autoritaire exercées par le makhzen. Enfin, cette politisation multiple, que permet l'ambivalence de l'artistico-culturel et du politique, est exacerbée dans le contexte du Mouvement du 20 février et du Printemps arabe entre radicalisation et saturation de la dynamique festivalière Musical festivals in Morocco have progressively become a social phenomenon since the mid 1990's. This study takes a comparative perspective in order to analyse to what extent these artistic, cultural and festive events promote new and unconventional forms of politics production in the Arab world, which oscillate between a contestation and a relegitimation of the established order. On the one hand, music festivals, considered through the lense of a cultural analysis of collective action and social movements, constitute an alternative political space with an initially high subversive potential leading to a post-islamist Nayda. On the other hand, these events gradually enter diverse processes of direct and indirect distortion and co-optation, which illustrate the levers of the domination and the authoritarian cultural policy exercised by the makhzen. Finally, the multiple politicization allowed by the ambivalence of artistic, cultural and political expressions is exacerbated in the context of the Arab Spring and the 20 February Movement between a radicalisation and a saturation of the festival dynamics

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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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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:44:42Z No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) Made available in DSpace on 2017-07-11T12:44:42Z (GMT). No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) Previous issue date: 2017-06-22 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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Ndzuta, Akhona Amanda. "South African Festivals in the United States: An Expression of Policies, Power and Networks." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554903391508711.

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Martins, Maria Cristina Marreiros Cabaço. "Influência dos patrocínios de eventos na intenção de compra: o caso da Super Bock nos festivais de música." Master's thesis, Escola Superior de Hotelaria e Turismo do Estoril, 2013. http://hdl.handle.net/10400.26/6296.

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Actualmente observa-se a crescente utilização dos patrocínios de eventos como ferramenta de comunicação de empresas. Numa comunicação integrada de marketing, os patrocínios surgem como uma ferramenta estratégica capaz de ajudar a alcançar as metas e objectivos planeados, coordenada com outras ferramentas para a criação de uma estratégia de comunicação eficaz e completa. A influência dos patrocínios tem sido uma questão fundamental a avaliar por parte dos patrocinadores e organizações, e os efeitos no consumidor são, na maioria dos casos, muito difíceis de aferir, devido à complexidade e multiplicidade das variáveis que o constituem. Foi elaborada uma pesquisa, através do estudo do patrocínio Super Bock nos festivais de música, sobre a influência dos patrocínios de eventos na intenção de compra, adaptando o modelo de Jae, Y. et al. (2008). Tal modelo tem por base a construção e correlação de relações entre variáveis-chave da eficácia do patrocínio - envolvimento; percepção; imagem; e intenção de compra. Os resultados obtidos nos testes estatísticos indicaram a variável-chave imagem como a principal influência, indicando que, quanto melhor a imagem que detém da marca Super Bock, enquanto patrocinador, maior a intenção de compra de cerveja da marca. Porém, através do caso de estudo, conseguimos aperceber-nos da complexidade do processo de eficácia dos patrocínios de eventos, e da necessidade de complementaridade entre todas as variáveis-chave para se comunicar eficazmente com o público-alvo e promover o desejo de consumo. Today we observe the increasing use of event sponsorships as a company communication tool. In an integrated marketing communication network, sponsorships emerge as a strategic tool that can help achieve the goals and objectives planned, combining with other tools for the creation of an effective and complete communication strategy. The evaluation of the influence of sponsorship has been a key issue for sponsors and organizations, as its effects on consumers are, in most cases, very difficult to assess because of the complexity and multiplicity of variables that constitute it. An investigation was developed through the study of Super Bock sponsorship in music festivals, which studied the influence of event sponsorships on purchase intention. It adapted the model of Jae, Y. et al. (2008) which is based on the construction of relationships and correlations between key variables of sponsorship effectiveness- involvement, perception, image and purchase intention. The results of the statistical tests indicated the key variable was image. More specifically, the better the image that Super Bock had as a sponsor, the greater the intent to purchase its beer. However, through the case study, we realized the complexity of the effectiveness of event sponsorships, and the need for balance between all key variables to communicate effectively with the target audience and promote consumer desire.

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Timóteo, Júlio Esteves Dantas. "Supply chain management na indústria de festivais de música : o caso "Paredes de Coura"." Master's thesis, Instituto Superior de Economia e Gestão, 2018. http://hdl.handle.net/10400.5/17502.

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Mestrado em Marketing A indústria dos festivais de música tem crescido exponencialmente em Portugal. Considerando o sucesso deste tipo de eventos e o elevado número de relacionamentos empresariais que exigem, torna-se importante entender de que forma práticas aplicadas de gestão poderão explicar esse fenómeno. Assim, o objetivo desta dissertação passa por entender de que forma funcionam esses relacionamentos na organização de um evento de larga escala nesta indústria, para compreender se existe filosofia de cadeia de aprovisionamento, até que ponto é implementada e se é feito voluntária ou espontaneamente. Para a recolha de dados primários foi realizado um estudo qualitativo, em forma de case study, com amostragem não probabilística por julgamento, composta por três profissionais diretamente ligados à cadeia de produção de um grande evento nacional desta indústria, a quem foram realizadas entrevistas semiestruturadas. Através do estudo empírico, concluiu-se que não existe supply chain management na produção do evento, ou abertura para tal pela organização. Percebeu-se que esta assume um papel de líder na rede, promovendo o prolongamento dos relacionamentos no tempo e, pontualmente, colaborações sistémicas. Notou-se que a interdependência é encarada negativamente pela organização e apenas existe assinalavelmente no relacionamento com o main sponsor, sendo todos os outros vistos como parcerias facilmente substituíveis. Foi também descoberto que os processos interorganizacionais e interfuncionais são maioritariamente espontâneos e não uma solução estratégica. As vantagens competitivas do evento são tidas pela organização como um produto conjunto de todos os parceiros, embora um aumento do customer value seja apenas considerado proveniente do engenho próprio da produtora. The music festival industry has been growing exponentially in Portugal. Given the success of these events and the high number of business relationships which they demand, it becomes important to understand how applied management practices can explain the phenomena. Accordingly, the purpose of this thesis is to understand how these relationships work in the production of a large-scale event in this industry, with the aim of understanding if there?s a supply chain philosophy, how it is implemented and if it is done voluntarily or spontaneously. With the objective of collecting primary data a case study was carried out, employing a non-probabilistic sample composed by three intervenients within the chain of production of one successful and long-running event, with whom semi-structured interviews were conducted. Through the empirical study, it was concluded that there is no supply chain management in the production of the studied event, nor openness by the organization for such. The latter assumes a role of leadership in the network, promoting long-term relationships and, occasionally, systemic collaborations. It could be noted that interdependence is regarded negatively by the organization and is only noticeable in the relationship with the main sponsor, all other partnerships are seen as easily replaceable. It was also found that, if existent, interorganizational and interfunctional processes are mostly spontaneous and not a strategic solution. The competitive advantages of the event are considered by the producer as a joint product of all partners, although the increase of the customer value is revendicated as solely their own. info:eu-repo/semantics/publishedVersion

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Barão, Catarina Nery de Oliveira Trindade. "Portuguese music festivals: A study of the environmental challenges from festival manager’s perspective." Master's thesis, 2021. http://hdl.handle.net/10071/23738.

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Music festivals are a great source of entertainment with a vast number of attendees, increasingly, there is a pressure for the management responsible of festivals, to be implementing green initiatives that can help the event to be more environmentally friendly. The purpose of this paper is to understand the perspective of Portuguese festival manager’s regarding the impact of these events on the environment and society; as well as the environmental sustainability initiatives currently being implements, the drivers and challenges in doing so and the motivations behind such actions. The methodology chosen was in-depth interviews with managers from music festivals in Portugal. The results show that all the festivals analyzed already had Environmental Sustainability (ES) initiatives in place, both due to the managers’ values and commitment to sustainability, and to external pressure. Notwithstanding, respondent also noted the challenges on the path to more sustainable festivals, in particular due to limited financial capacity and the lack of solutions on the market. For the current and future Portuguese music festival managers this research can be a contribute to use as a tool, to understand the framework of other festivals, and to give them an insight of what is being done, what needs to be changed, and what is still lacking in their festivals and should be implemented. It can also be a suggestion of some steps that can be taken, creation and improvement of working awareness campaigns that could help to mitigate some of the existing negative influence and impacts. Festivais de música são uma fonte de entretenimento com um vasto número de participantes consequentemente, as organizações que gerem os festivais, deveriam implementar iniciativas mais sustentáveis de forma que o evento seja mais ecológico. O objectivo deste estudo é compreender a perspectiva dos gestores de festivais portugueses relativamente aos desafios ambientais que estes trazem ao festival e às comunidades envolventes, identificar os desafios de tornar os festivais mais sustentáveis, de acordo com o seu ponto de vista, bem como compreender que iniciativas estão a ser implementadas, as razões por detrás delas e os seus impactos. A metodologia escolhida baseia-se em entrevistas aprofundadas com gestores de festivais de música em Portugal, os resultados mostram a aplicabilidade das iniciativas de Sustentabilidade Ambiental nos festivais. Estas são aplicadas, devido a um compromisso próprio e à pressão externa, os gestores e organizadores dos festivais musicais aplicam as iniciativas de SA sempre que possível. Contudo, existem impactos positivos e negativos relacionados com estas actividades, que podem ser observados a curto/médio prazo. Estas iniciativas nem sempre são aplicadas devido a desafios inultrapassáveis, apesar dos esforços do gestor e dos festivais musicais, e isto deve-se principalmente à falta de capacidade financeira e de soluções no mercado. O objectivo é tornar estes festivais de música o mais sustentável possível do ponto de vista ambiental, entretanto, isso ainda é impossível de obter. Contudo, podem ser tomadas algumas medidas, criação e melhoria de campanhas de sensibilização que possam ajudar a mitigar alguma da influência e impacto negativos existentes.

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Rocha, Ricardo Gil Pedreiro. "Os públicos do Festival Paredes de Coura 2011: expectativas, motivações e práticas." Master's thesis, 2011. http://hdl.handle.net/10071/4590.

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Os festivais de música de Verão são, há já várias décadas, parte integrante da cultura juvenil ocidental. No entanto, em Portugal, apenas na década de 90, estes se tornam assíduos no panorama cultural nacional. Não sendo fenómenos isolados, quase todos com periodicidade anual, é interessante verificar que existem poucos estudos académicos sobre estas produções culturais, algumas delas em grande massa. Num ano em que mais uma vez, dias específicos e festivais completos esgotaram as suas bilheteiras, os festivais de Verão tornam-se ainda mais assunto da ordem do dia, como negócio cultural que inverte as tendências económicas actuais. Dentro deste panorama, o Festival Paredes de Coura, assume-me com um dos mais consistentes eventos do circuito nacional. Será um dos mais antigos festivais a realizarem-se sem interrupções em território luso, com um cartaz musical detentor de uma linha directriz bem definida e uma localização com características naturais invejáveis. Porém, o enfoque deste estudo vai para os Públicos deste Festival e todas as informações acumuladas sobre estes, desde os seus dados mais básicos, às suas motivações e expectativas, passando pela relação dos públicos com festival. Para o efeito, foi aplicada uma metodologia de carácter exploratória/descritiva, materializada através de um questionário, entregue aleatoriamente no terreno a 115 indivíduos. Os resultados do estudo ambicionam trazer à luz do conhecimento, maiores informações sobre os públicos do supracitado festival e de eventos do género, no sentido da dissolução de dogmas e pré-conceitos existentes em parte do espectro social e mediático português, sobre estes eventos e os seus frequentadores. Summer festival of music are, from decades ago part of juvenile western culture. However, in Portugal, just on the 90’s, it become assiduous on the national cultural panorama. Not being isolated phenomenon, almost every single is annual, it’s interesting to verify that there are not so many academic studies about these cultural productions, some on them in large scale. In one year that once again, there were many single days and full festivals were sold out, summer festivals became even more news headliners, as cultural business that reverses the current economic tendencies. As part of this scene, Paredes de Coura Festival, assumes as one of the most consistent events of the national circuit. It’s one of the oldest festivals occurring without breaks in Portuguese soil, with a lineup that owns a clear and well defined vision e a geographic localization with natural and enviable characteristics. Although, the focus of this study goes to the festival’s Public and all the collected data about them, from basic information, to the motivations and expectation, passing through the relationship between the Public and the festival itself. To achieve that, it was applied an exploratory/descriptive type of methodology, created through a questionnaire, randomly delivered on the field to 115 individuals. The study’s results strive to bring to light new and wider data about the Public of the mentioned festival and these kinds of event, trying to dissolve dogmas and pre-concepts that exist still exist in part of the social spectrum and national media, about these types of event and people that take part on them.

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