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Artykuły w czasopismach na temat "Rock al Parque (Music festival)"
Gottschalk, Kurt. "Borealis Festival, Bergen". Tempo 70, nr 278 (28.09.2016): 92–94. http://dx.doi.org/10.1017/s0040298216000450.
Pełny tekst źródłaOliveira Medeiros, Isabella, Simone Evangelista i Simone Pereira de Sá. "Rock versus pop: symbolic disputes at Rock in Rio music festival". Arts and the Market 11, nr 2 (30.04.2021): 136–46. http://dx.doi.org/10.1108/aam-09-2020-0043.
Pełny tekst źródłaTjora, Aksel. "The social rhythm of the rock music festival". Popular Music 35, nr 1 (30.11.2015): 64–83. http://dx.doi.org/10.1017/s026114301500080x.
Pełny tekst źródłaSILVA, PAULO RICARDO MUNIZ, i EDWAR ALENCAR CASTELO BRANCO. "Cantar e seguir a canção ou para não dizer que não esgrimi a palavra: guerra de sentidos e estética da contestação nas canções de protesto em Teresina (1975-1985) * War of senses and aesthetic of refusal in the protest songs in Teresina (1975-1985)". História e Cultura 2, nr 2 (3.02.2014): 234. http://dx.doi.org/10.18223/hiscult.v2i2.846.
Pełny tekst źródłaBrown, Alyssa E., Keith Donne, Paul Fallon i Richard Sharpley. "From headliners to hangovers: Digital media communication in the British rock music festival experience". Tourist Studies 20, nr 1 (4.11.2019): 75–95. http://dx.doi.org/10.1177/1468797619885954.
Pełny tekst źródłaIlienko, O., i A. Furdychko. "PERFORMANCE FEATURES OF THE «CHERVONA RUTA» FESTIVAL: FOCUS ON THE INHERITANCE OF TRADITIONS". Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, nr 24 (2022): 34–40. http://dx.doi.org/10.34079/2226-2849-2022-12-24-34-40.
Pełny tekst źródłaDinis, Maria Gorete, Celeste Eusébio i Zélia Breda. "Assessing social media accessibility: the case of the Rock in Rio Lisboa music festival". International Journal of Event and Festival Management 11, nr 1 (6.02.2020): 26–46. http://dx.doi.org/10.1108/ijefm-02-2019-0012.
Pełny tekst źródłaZmudzińska, Kamila, i Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland". Journal of Geography, Politics and Society 13, nr 2 (29.09.2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
Pełny tekst źródłaPielichaty, Hanya. "Festival space: gender, liminality and the carnivalesque". International Journal of Event and Festival Management 6, nr 3 (19.10.2015): 235–50. http://dx.doi.org/10.1108/ijefm-02-2015-0009.
Pełny tekst źródłaMarcus, Alan P. "When Brazil Got the Blues: The Diffusion of Blues in Brazil". Brasiliana: Journal for Brazilian Studies 10, nr 2 (18.02.2022): 382–406. http://dx.doi.org/10.25160/bjbs/10.2.22.
Pełny tekst źródłaRozprawy doktorskie na temat "Rock al Parque (Music festival)"
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.
Pełny tekst źródłaLately, 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.
ABDALA, Lorena Pompei. "Estéticas da existência: a moda nos Festivais de Rock (Goiânia Noise Festival e Lollapalooza Music Festival-2008/2009)". Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2830.
Pełny tekst źródłaThis dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates as an existential support in the setting of the visual symbolic representation of a given culture at a given time and space history. The figures of speech created by the practices of fashion generate social archetypes that become signs of a life style. The dress becomes a whole system of meaning. The analysis is based on photographs taken of goers of the two festivals (Festival Goiânia Noise and Lollapalooza Music Festival), noting that were considered the subjects photographed and not the photograph itself, as supported by observation. The study was structured considering the symbolic systems as creators of communities of existence and fashion as a form of social practice. Thus, the work is grounded in the discourse of fashion in the form of how identities are determined by simulations made by the groups / tribes and how to establish mediated existence poetics of everyday wear.
Esta dissertação versa sobre as práticas de si como mediadora do processo de construção das identidades, as quais legitimam as existências sócio-culturais dos sujeitos. Através das narrativas visuais produzidas no cenário dos festivais de rock, foram traçadas as relações da moda como instrumento para a construção das identificações. A moda, entendida como uma prática social e cultural opera como um suporte existencial na fixação das visualidades da representação simbólica de uma dada cultura, num dado tempo e espaço histórico. As figuras de estilo criadas pelas práticas da moda geram arquétipos sociais que se tornam signos de um modo de vida. A vestimenta torna-se um sistema inteiro de significação. A análise baseia-se em fotografias tiradas de freqüentadores dos dois festivais (Festival Goiânia Noise e Lollapalooza Music Festival), lembrando que foram considerados os sujeitos fotografados e não a fotografia em si, como suporte de observação. O estudo foi estruturado pensando os sistemas simbólicos como criadores de comunidades de existências e a moda como uma forma de prática social. Deste modo, o trabalho se fundamenta, nos discursos da moda, na forma de como as identidades são fixadas pelos simulacros criados pelos grupos/tribos e de como se estabelecem as existências mediadas pela poética cotidiana do vestir.
Zabrovskaya, Yulia, i 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.
Pełny tekst źródłaValdemarsen, Johanna. "Gatsten eller lervälling : En studie i hur habitus påverkar människors val av musikfestivaler". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-25732.
Pełny tekst źródłaBernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.
Pełny tekst źródłaLiu, Yi-Chun, i 劉怡君. "Rock Music Tourism: Rock Werchter Festival and Participants’ Performances". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4qb372.
Pełny tekst źródła國立臺灣師範大學
歐洲文化與觀光研究所
106
In post-modern society, music consumption has derived its form from private listening to live houses, concerts, or music festivals, seeking for companion who share the common taste or affection. Music festivals particularly play an important role on music tourism nowadays. Based on the researcher’s music-listening experience, this research, taken Rock Werchter in Belgium as an example, aims to explore the construction and destruction of order in the festival space, the development of music festivals in response of the tourism market, and the “we-ness” of participants and the emergence of “the Others.” This research draws on Mikhail Bakhtin’s carnivalesque and Michael Foucault’s heterotopia to examine the forming and popularization of music festival tourism. Words, images, blogs, Internet resources, interviews and data collected during the fieldwork are analyzed from the perspectives outside and inside the field. How the space and the context of Rock Werchter are constructed is the main focus here. Rock Werchter is an intriguing case in terms of a festival emphasizing on its line-up, with the lack of carnival elements, such as dances or theaters. Therefore, the mobility and the participants themselves have become the music scene. Coding the data collected from blogs and interviews through discourse analysis, the participants’ consumption and performances have transformed the group into “neo-tribe, ” where through collective expression, gazing, or listening body, participants generates fellow-feeling and creates a sense of belonging. However, the research finds that differences of races, genders, or languages still expand the awareness of “others” even within the aesthetic aura. Today, the transformation of lifestyle has led to cross-national music tourism, and music becomes the travel destination. Adding the ideology of rock music in the music scene of festivals, blended with commercialization and tourism trend, the festival and participants together shape a special spacetime. Although participants are not fully royal to the neo-tribe, the consumption and performances in Rock Werchter indeed demonstrate an alternative perspective of music tourism.
Liu, Yi-Chung, i 劉怡宗. "Imageation of Destination for the Research of Music Festival-Ho-Hai-Yan Rock Festival". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/zsgtzd.
Pełny tekst źródła世新大學
公共關係暨廣告學研究所(含碩專班)
101
When people making a decision to travel , it depends on the image of the place for the favority or not. The image of destination will keep affecting when travelers take a trip .Hence, the destination depend on its unique image to attract to the travelers to proceed. However, the reason of some festivals and the culture of the place get out of touched is not only on the enconomy of the activity rather than the culture and ignoring the quality of activity and content of the culture bring the depth of meaning to the travelers.If the quality of activity can not touched with the characteristic of the destination, it could be make the festival or image of the place would lose its credibility. The research consider of music festival is an outcome of the inter-influence for the space of sign and participants , it‟s to deconstruct the “Ho-hai-yan Rock Festival” to give the travelers to get the image of Gongliao, the research devided into 2 section of ”travelers” and “space”, it hopes to explain to the destination of Gongliao by the deconstruction of space and psychology of travelers.Hence, the research investigates to the travelers‟ feeling at the difference stage of Organic Image, Induced Image, Complex Image by the view of the Image of Destination of Fakeye and Crompton(1991), with the 10 respondents who like “Ho-hai-yan Rock Festival”deeply, in order to exvacate the view and feeling of the respondents at the different image stage by the deeply interview. This research discovers that Organic Image can transform to a new Complex Image by the external stimulant and the festivals can affect to the Image of the place in deed. This affection to the image is the key to success to transform to the image of the place by the effective external festivals, the“Ho-hai-yan Rock Festival”, by combining its elements of the place but not conflict it. This is the indispensable to “Ho-hai-yan Rock Festival”(External elements) and Beach of Gongliao(elements of place).
Chen, Mei-Huan, i 陳美寰. "The Local Practice of Music Festival - Small Oyster Rock and South Howl". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/m4b8vu.
Pełny tekst źródła國立臺灣大學
建築與城鄉研究所
104
The indie music scene in Taiwan has become very active in recent years. A variety of music festivals took the stages in both urban and rural settings, and some of them were initiated by devotees of music’s local practice, such as “Small Oyster Rock” in Kezailiao and “South Hawl” in Anping. Their intentions focused on the revitalization of places through the medium of music events. The purpose of this thesis is to explore how the local practices of music festivals emerged in south Taiwan and how they were orchestrated through specific local context. We surmise that one of the major attributions of the rise of local music festival is the homeward bound movement of Taiwan’s young generation. They dedicate to make a difference in their hometowns and rejuvenate the passé sense of place, and curating a music festival is an alternative to create a venue as well as a route extending from the root of a place. The bottom-up music festivals contrast with their top-down counterparts sponsored by the government or corporate capital in that the concern of local practice fosters new social relations of the place. The concept of “heterotopia” is employed to explain how the local practice of music festival polemicizes the concert venues as spaces between utopia and real space. In “Small Oyster Rock”, the heterotopia gathered festival aficionados with Kezailiao locals and implanted an indie rock concert onto an authentic fishing village. The juxtaposition engendered both a tension and an emancipation of a carnival and delivered a strong sense of a real place that attracted many young people. In “South Howl”, the local practice of music festival is considered as a process of reconstructing place narratives through several spatial projects. By bringing small concerts back to the courtyards of different temples, “The Small South Howl” project reinvent the narrative routes of the historical neighborhoods. “The Restoration Plan of Wind Lion God” attempted to remake the traditional talisman “Wind Lion God” and restore them on the rooftops of houses in Anping. Through music events, the South Howl practices reconstructed pico-narratives of local daily life to replace the grand narratives of authorized history, thus strengthened the local identity.
Ku, Tzu-Huan, i 辜子桓. "Music festivals are utilized to realize the concept of indie music DIY– A Case Study of Beastie Rock Festival". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/33922125364265879860.
Pełny tekst źródła國立中正大學
電訊傳播研究所
103
This study aims to discuss the phenomenon that occurs in Taiwan’s indie music events while music festivals are utilized to realize the concept of indie music DIY. Example as Beastie Rock Festival was introduced to illuminate the cultural ideology, qualities and the meanings of scene hidden behind the indie music groups. Accordingly, the music DIY event of Indietaiwan(音地大帝) held in Beastie Rock Festival was analyzed and the investigation with respect to the preparation of the Beastie Rock Festival, types of participants, and its development in Taiwan’s current music events were also involved in this study. Indietaiwan which has been known by its distinctive styles made a considerable contribution to the success of music DIY event in Beastie Rock Festival. Through the choice of spot in urban area as well as the cooperation of non-profit professional bands, volunteers and those adept at social network, the Beastie Rock Festival was successfully held. In acknowledging the efforts from Indietaiwan, it is not deniable that the music DIY event could not be so completed without the timely support from independent music social groups. The whole atmosphere in Beastie Rock Festival was more like a family reunion since those who participated in this grand event were mostly from the bands not those who are fond of music. Furthermore, Beastie Rock Festival embraced diverse music styles or bands with divergent age groups. Some choices were left for the new bands or bands from high school. The close tie between Indietaiwan and the bands in Taipei has led to the r power relation between Beastie Rock Festival and bands. Beastie Rock Festival basically combined the music element between Spring Scream and Formoz Festival. On one hand, it resonated the general market demands, and on the other hand, it surely established a clear rule. From the music DIY event, it is noticeable that the music festival is now more approachable than ever. However, generally speaking, Beastie Rock Festival is still under development, therefore, more aspects needs improvement and more financial issues require adjustment. Nevertheless, Beastie Rock Festival is still moving forward with great faith and determination even when the competition is getting more fierce.
Książki na temat "Rock al Parque (Music festival)"
Burgos, Beatriz María Goubert. Festival Rock al Parque: Ópera al Parque : memoria social 1995-2007. Bogotá: Orquesta Filarmónica de Bogotá, 2011.
Znajdź pełny tekst źródłaBašin, Igor. Novi rock: Rockovski festival v Križankah, 1981-2000. Maribor: Subkulturni azil, 2006.
Znajdź pełny tekst źródłaMike, Plumbley, i Turner Pete, red. Isle of Wight rock: A music anthology. Niton: Isle of Wight Rock Archives, 1996.
Znajdź pełny tekst źródłaLittleproud, Brad. Woodstock: Peace, music & memories : 40th anniversary. Iola, WI: Krause Publications, 2009.
Znajdź pełny tekst źródłaFrazzi, Luca. 18 anni di Festival Beat: La storia, le immagini, i ricordi, le emozioni. Milano: Tsunami, 2011.
Znajdź pełny tekst źródłaRobison, Greg. Coachella. New York: Rosen Pub., 2009.
Znajdź pełny tekst źródłaCaro, Gonzalo. El Festival de Ancón: Un quiebre histórico. Medellín, Colombia: Instituto Tecnológico Metropolitano, 2001.
Znajdź pełny tekst źródłaFernando, Aceves, Cortés David i Festival Iberoamericano de Cultura Musical (2007 : Mexico City, Mexico), red. Vive latino, 2006-2007. [México, D.F.]: OCESA, 2007.
Znajdź pełny tekst źródłaWadleigh, Michael, i Bob Maurice. Woodstock: 3 days of peace & music. Wyd. 2. Burbank, CA: Warner Home Video, 1994.
Znajdź pełny tekst źródłaBaldazzi, Gianfranco. La canzone italiana del Novecento: Da Piedigrotta al Festival di Sanremo, dalcaffè-concerto all'opera rock ... Roma: Newton Compton, 1989.
Znajdź pełny tekst źródłaCzęści książek na temat "Rock al Parque (Music festival)"
Machado, Annaelise Fritz, Bruno Sousa, Joice Lavandoski, Laurentina Vareiro i Victor Figueira. "Music, Green Marketing and Sustainability Festivals: the Case of the Rock in Rio Tourist Event". W Festival and Event Tourism, 64–71. GB: CABI, 2022. http://dx.doi.org/10.1079/9781789248685.0007.
Pełny tekst źródłaLiberato, Dália, Elga Costa, Cláudia Moreira, Pedro Liberato i Joaquim Ribeiro. "Sustainability Practices in Events’ Organization in Lisbon. Empirical Study of the Rock in Rio Music Festival". W Tourism, Travel, and Hospitality in a Smart and Sustainable World, 139–58. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26829-8_9.
Pełny tekst źródłaWaksman, Steve. "Crowds, Chaos, and Community". W Live Music in America, 345–417. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0008.
Pełny tekst źródłaHaworth, Rachel. "Mina, Rock ‘n’ Roll, and the Sanremo Festival". W The Many Meanings of Mina: Popular Music Stardom in Post-war Italy, 26–54. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385601_2.
Pełny tekst źródłaPalmer, Landon. "Onstage/Onscreen". W Rock Star/Movie Star, 96–134. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.003.0004.
Pełny tekst źródłaPayne, Leah. "“The Now Generation”". W God Gave Rock and Roll to You, 38–56. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197555248.003.0004.
Pełny tekst źródłaKelly, Paul. "Creating Your Festival Budget". W Principles of Festival Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-82-6-4067.
Pełny tekst źródłaBarr-Melej, Patrick. "The Opening Set". W Psychedelic Chile. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632575.003.0002.
Pełny tekst źródłaWaksman, Steve. "The Politics of Scale". W Live Music in America, 418–77. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0009.
Pełny tekst źródłaMilward, John. "The “Birth” of Americana". W Americanaland, 210–27. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0016.
Pełny tekst źródłaStreszczenia konferencji na temat "Rock al Parque (Music festival)"
Thongrom, Pimpika. "The effect of Music Festivals on Perceived Destination Images". W INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.
Pełny tekst źródła