Artykuły w czasopismach na temat „Rock al Parque (Music festival)”
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Gottschalk, Kurt. "Borealis Festival, Bergen". Tempo 70, nr 278 (28.09.2016): 92–94. http://dx.doi.org/10.1017/s0040298216000450.
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It wouldn't be the worst idea if Anthony Braxton's Composition No. 58 were used to kick off every music festival. In any event, it's hard to think of a fanfare more fitting for the common fan, whether of classical, jazz or experimental rock. It could, for example, quite easily be followed by a piece of Mauricio Kagel's instrumental theatre or a parade by the Sun Ra Arkestra or the precisely played experimental excursions of the Brooklyn avant-rock outfit Zs.
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Oliveira 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.
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PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.FindingsBy recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.Originality/valueThe paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.
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Tjora, 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.
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AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis will employ a close description of this rhythm's phases, and how transitions between them are interactively negotiated. While rock music festivals certainly celebrate fandom, this paper draws attention to processes that build strong senses of community between participants while joining together in the camping site, outside stage areas. The social rhythm, as it is interactively and artfully produced between participants, makes the festival recognisable as a festival, and attractive as a social event. A profound sense of connectedness between participants is to be found between the tents in the festival camp.
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SILVA, 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.
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<p><strong>Resumo:</strong> A música de protesto, categoria já consolidada no âmbito dos estudos sobre música brasileira, marcou a produção musical em Teresina, a capital do Estado do Piauí, durante a década de 1970. Neste contexto, o Festival Estudantil de Música do Piauí (FEMPI), e o Festival do Parque Piauí (FESPAPI), ambos ocorridos entre as décadas de 1970 e 1980, tiveram importância fundamental para a constituição deste quadro histórico. Responsáveis pela popularização de expressivos nomes da arte piauiense, tais como Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior e Williams Costa, estes festivais acabariam por gerar uma cultura musical de protesto, universo no interior do qual se destacam músicas como Biotema, Arames e Fuzis, Medusa e Represália. O propósito do presente artigo é, apoiado na análise das letras das músicas e, bem como, com o recurso à História Oral, re-conhecer este período e este ambiente da história da música piauiense.</p><p><strong>Palavras-chave:</strong> Música de protesto – Festivais – Piauí.</p><p> </p><p><strong>Abstract:</strong> The protest song, a consolidated category of studies on Brazilian music, marked the music production in Teresina, the capital of Piauí State, during the 1970s. In this context, the “Festival Estudantil de Música do Piauí” [Piauí Student Music Festival] (FEMPI), and the “Festival do Parque Piauí” [Piauí Park Festival] (FESPAPI), both of which occurred between the 1970’s and 1980’s, were crucial for the formation of this historical framework. Expressive names in the Piauí art scene, such as Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior and Williams Costa, were popularized by these festivals that would eventually generate a musical culture of protest, within a universe in which stands out songs like “Biotema”, “Arames e Fuzis”, “Medusa” and “Represália”. The aim of this article is to re-discover this environment and this period of piauiense music history, supported by the analysis of lyrics as well as, use of Oral History methodologies.</p><p><strong>Keywords:</strong> Protest song – Festivals – Piauí.</p>
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Brown, 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.
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Extant tourist experience literature focuses on ‘live’ space and time activity, while pre- and post-components are often neglected despite the opportunities offered by increasing use of digital media communication (DMC). Focusing especially on the pre-festival experience but also addressing peri- and post-phases, this study examines the role of DMC in tourists’ experiences at British rock music festivals. Interviews with festivalgoers revealed three core and inter-related themes: information, emotional response and communitas. Initial engagement with DMC enabled planning, generated feelings of anticipatory excitement and created a sense of communitas. Online activity reduced peri-festival but continued to enhance the live event experience, while the virtual communitas was extended at the post-festival phase.
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Ilienko, 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.
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The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founders of this approach. So far, the arrangements of folk melodies by the band "Chervona Ruta" have been used by popular rock bands - "Haydamaki", "Mandry", "Perkalaba", "Hutsul calypso", "Kobza original", "Crying", "Down" and others. The modern Ukrainian pop band continues the tradition and modernizes its songs in various interpretations. The paper studies the features of the "Chervon Ruta" festival from 1988 to 2016. The focus is on continuing the traditions of the participants of the ensemble festival of the same name. The practical significance is to highlight the directions of musical creativity of the bands that continue (transform) the traditions of the Chervona Ruta ensemble. Keywords: "Chervona Ruta", festival, Ukrainian music, pop standard.
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Dinis, 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.
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PurposeThis paper aims to present a framework to analyse whether information published on social media is accessible for people with disabilities (PwD), namely, visual and hearing disabilities, with an application to a music festival.Design/methodology/approachThe methodology used in this exploratory study consists of establishing a recommended framework to assess social media accessibility for PwD, especially for people with visual and hearing disabilities (PwVHD), and analyse, through an observation grid, if the information published on the official pages of the “Rock in Rio Lisboa” music festival on Facebook, Instagram, Twitter and YouTube is accessible for this target audience.FindingsThe results indicate that, although the Rock in Rio Lisboa music festival is promoted as a festival for all, posts on social media are not accessible for people with visual and/or hearing disabilities and do not meet most of the defined parameters established in the proposed assessment framework.Originality/valueSocial media accessibility has not been analysed in previous research in the tourism context. This paper aims to fill in the void by establishing criteria and parameters that can serve as a basis for a framework for accessibility assessment in social media for PwVHD.
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Zmudzińska, 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.
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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.
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Pielichaty, 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.
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Purpose – Contemporary outdoor rock and popular music festivals offer liminoidal spaces in which event participants can experience characteristics associated with the carnivalesque. Festival goers celebrate with abandonment, excess and enjoy a break from the mundane routine of everyday life. The purpose of this paper is to explore the way gender is negotiated in the festival space. Design/methodology/approach – The rock and popular music tribute festival, known as “Glastonbudget” provides the focus for this conceptual paper. A pilot ethnographic exploration of the event utilising photographic imagery was used to understand the way in which gender is displayed. Findings – It is suggested that liminal zones offer space to invert social norms and behave with abandonment and freedom away from the constraints of the everyday but neither women nor men actually take up this opportunity. The carnivalesque during Glastonbudget represents a festival space which consolidates normative notions of gender hierarchy via a complicated process of othering. Research limitations/implications – This is a conceptual paper which presents the need to advance social science-based studies connecting gender to the social construction of event space. The ideas explored in this paper need to be extended and developed to build upon the research design established here. Originality/value – There is currently a paucity of literature surrounding the concept of gender within these festival spaces especially in relation to liminality within events research.
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Marcus, 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.
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Thisarticlewillexamine theintroduction of blues in Brazil (1985-1992), a phenomenon thathas not yet been addressed in scholarly spheres until now. By highlighting the processes of globalization and the Brazilian blues band from Riode Janeiro, Blues Etílicos, I ask what were the spaces, places, and venues that helped to disseminate blues throughout Brazil? How does an African-American-based genre adopted and popularized by upper-and-middle-class white urbanites in Brazil? To answer these questions, I discuss the process ofglobalization and the Geography of music, political, musical,and cultural backdrops, and the end of Brazil’s military dictatorship in 1985, which overlappedwith a major Brazilian rock festival, “Rock in Rio,” and later, Brazil’s first blues festival in Ribeirão Preto in 1989. This article adds to the scholarly literature of music geography by looking at ongoing discussions of Brazil’s changing political, cultural, and musical landscapes.
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Aşan, Kübra, Kerem Kaptangil i Aysun Gargacı Kınay. "Mediating role of perceived festival value in the relationship between experiences and satisfaction". International Journal of Event and Festival Management 11, nr 2 (24.04.2020): 255–71. http://dx.doi.org/10.1108/ijefm-11-2019-0058.
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PurposeThe purpose of this paper is to examine the mediating effect of perceived festival value on the relationship between satisfaction and experiences in the context of a music festival. The study presented herein also examined festival experiences based on the experience economy model.Design/methodology/approachA face-to-face survey was performed at the rock music festival Kuzey Fest in Sinop/Turkey, where 336 questionnaires were completed. The statistical analyses conducted to establish the relationship between experiences, perceived value and satisfaction comprised explanatory factor analyses and multiple regression analysis.FindingsThis study showed that the experience economy in the context of music festivals consists of four experience dimensions. According to the findings, the participants had predominantly entertainment and aesthetics experiences through passive participation. The study concluded that there were partial and full mediating roles of perceived festival value in the relationship between some experience dimensions and satisfaction; however, it was also found that escape experiences did not significantly affect satisfaction. Finally, the aesthetics, education, entertainment and festival value variables were important pioneer variables for satisfaction.Practical implicationsThis study provides industry practitioners with meaningful insight on how to build rich festival experiences and satisfaction.Originality/valuePerceived value is a critical factor for developing satisfaction and gaining a competitive edge. While much is known about the effect of festival experiences on satisfaction, there is little research examining festival value within the framework of experiences and satisfaction. This research also provides valuable insights for applying the experience economy within the context of events management.
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Kristiansen, Lars J. "‘Punks in Vegas’: Punk rock and image repair". Punk & Post Punk 9, nr 1 (1.02.2020): 23–40. http://dx.doi.org/10.1386/punk_00016_1.
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At their 2018 headlining appearance at the annual Punk Rock Bowling and Music Festival in downtown Las Vegas, NV, California skate punk stalwarts NOFX generated widespread controversy after band members quipped about the mass shooting that occurred eight months prior during the Route 91 Harvest Country Music Festival in neighbouring Paradise, NV. After days of censorious media coverage, which prompted Stone Brewing to summarily terminate the band’s sponsorship contract in a widely circulated news release, the band issued a statement in which members collectively expressed remorse and apologized for the offending comments. Four decades of punk history notwithstanding, NOFX’s decision to apologize and offer mea culpas is something of a unicum. Punks, after all, are not typically in the business of extending olive branches or tendering requests for forgiveness. Accordingly, punk apologia is an understudied and undertheorized area of research. Utilizing Benoit’s Theory of Image Repair, this article adds to the limited stock of available research by critically evaluating the apologetic discourse following NOFX’s comments in Las Vegas through a systematic examination of the band’s letter of apology as well as audiences’ responses to that statement.
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Gusāns, Ingars. "DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE". Via Latgalica, nr 5 (31.12.2013): 105. http://dx.doi.org/10.17770/latg2013.5.1638.
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The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.
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Bernhard, Ellen M. "‘I thought it was a very punk rock thing to say’: NOFX’s (sort-of) public apology and (in)civility in defining contemporary punk rock in online spaces". Punk & Post Punk 9, nr 1 (1.02.2020): 7–22. http://dx.doi.org/10.1386/punk_00015_1.
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As a music genre built on the foundations of questioning the status quo, punk rock has a long history of generating controversy. While many of punk rock’s offensive moments have been accepted and applauded by fans around the world, NOFX’s comments at the 2018 Punk Rock Bowling and Music Festival about the 2017 Las Vegas mass shooting were met with immediate consequences for the band, who lost several sponsorships and the ability to play their own Camp Punk in Drublic music festival one week following the incident. After footage of the band’s comments circulated, they were met with a mixed, yet heated, response from fans, with much of the conversation arguing whether or not what was said could be considered ‘punk’. Some argued these comments further solidified the band’s reputation as a punk band and are therefore imbued with an inherent right to offend, while others believed these comments were unethical, poorly timed, and pushed the boundaries of appropriateness. Through the analysis of 381 comments in response to the band’s 31 May 2018 post on their official Facebook page, this article investigates the uncivil and civil discussions of the incident and the subsequent aftermath, while also addressing the broader conversation surrounding the current ethos of punk rock within the scene in the United States today.
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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure". Issues in Ethnology and Anthropology 3, nr 3 (1.12.2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.
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Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a contradictory reality in these places, being made up of individual, group interests, needs, establishment strategy and politics. To illustrate this phenomenon the paper presents the biggest festivals and spectacles in Serbia and SE Europe: EXIT festival (Novi Sad) attracted thousands of techno and rock lovers with the participation of many famous bands; and the folk trumpet playing festival (Guča), which each summer for several decades has been attracting thousands of lovers of ethno sound to a fair-carnival atmosphere. This ethnological research stresses complex property divisions – lifestyle, music genres, political strategies, scene movements and economic interests.
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Lofton, Kathryn. "Dylan Goes Electric". Journal of Popular Music Studies 33, nr 2 (1.06.2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Miller, Malcolm. "London, Royal Festival Hall: Steve Reich's ‘Radio Rewrite’". Tempo 67, nr 265 (lipiec 2013): 78–79. http://dx.doi.org/10.1017/s0040298213000521.
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Radio Rewrite, whose world première by the London Sinfonietta (who co-commissioned it) was warmly greeted by the capacity audience at the Royal Festival Hall on 5 March 2013, represents a fascinating postmodern symbiosis that attests to the veteran minimalist composer's continuing quest to cross new aesthetic boundaries in his eighth decade. It formed the centrepiece of a stunning concert, broadcast live by BBC Radio 3, which marked the first leg of a UK Reich tour that preceded the work's first USA airing (in Stanford on 16 March by the other commissioning ensemble, Alarm Will Sound). Reich concerts are occasions, and here the master himself together with percussionist David Hockings opened the programme with Clapping, then joined Sound Intermedia in their artful shaping of the amplified soundscape in a virtuoso performance by Mats Bergström of Electric Counterpoint. It was a performance of that work in Krakow in 2011, by Johnny Greenwood from the rock band Radiohead, that led to Reich's exploration and exploitation of their repertoire – notably two songs, ‘Jigsaw Falling into Place’ and ‘Everything in Its Right Place’ – in his new work.
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Pastoor, Colleen, Kellee Caton, Yaniv Belhassen, Billy Collins i Mark Rowell Wallin. "Rock of our salvation: ideological production at the Christian youth music festival". Annals of Leisure Research 21, nr 4 (11.10.2016): 440–61. http://dx.doi.org/10.1080/11745398.2016.1239542.
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad i Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts". Prehospital and Disaster Medicine 32, nr 3 (20.02.2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.
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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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Piotrowski, Grzegorz. "Jarocin: A Free Enclave behind the Iron Curtain". East Central Europe 38, nr 2-3 (2011): 291–306. http://dx.doi.org/10.1163/187633011x597216.
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AbstractJarocin in Poland is usually associated with one of the biggest rock festivals behind the Iron Curtain. It was not only a birthplace of many music groups in the 1980s, but also an enclave of freedom in communist Poland. It was a place where young people could manifest their music and fashion tastes, listen to their favorite bands and enjoy few days of relative freedom. This article highlights the main events in the history of the festival and also tries to assess its significance for the broader political and cultural life of Poland in the 1980s. It also looks at the role the festival played in the creation of youth subcultures and in catalyzing political changes in “late socialist” Poland.
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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival". Journal of the Society for American Music 14, nr 1 (15.01.2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.
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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
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Zanetti, Mary. "Mathematical Lens: Woodstock Revisited". Mathematics Teacher 103, nr 4 (listopad 2009): 246–49. http://dx.doi.org/10.5951/mt.103.4.0246.
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Bethel Woods Center for the Arts is a performing arts venue that includes the Woodstock Festival grounds in Sullivan County, New York. The center is adjacent to the original preserved site where visitors can see the historic field where hundreds of thousands of rock music lovers gathered in August 1969. In addition, they can visit a museum dedicated to the Woodstock experience and the events of the 1960s as well as attend concerts featuring all types of music in various settings.
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Zanetti, Mary. "Mathematical Lens: Woodstock Revisited". Mathematics Teacher 103, nr 4 (listopad 2009): 246–49. http://dx.doi.org/10.5951/mt.103.4.0246.
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Bethel Woods Center for the Arts is a performing arts venue that includes the Woodstock Festival grounds in Sullivan County, New York. The center is adjacent to the original preserved site where visitors can see the historic field where hundreds of thousands of rock music lovers gathered in August 1969. In addition, they can visit a museum dedicated to the Woodstock experience and the events of the 1960s as well as attend concerts featuring all types of music in various settings.
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Hodiamont, Didier, Christian Burgers i Margot van Mulken. "Lees Niet Verder! Ga Iets Nuttigs Doen". Toegepaste Taalwetenschap in Artikelen 83 (1.01.2010): 9–18. http://dx.doi.org/10.1075/ttwia.83.02hod.
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In this research, we investigated the influence of co-text (the text of which an utterance is part of) on the processing of ironic evaluations. In an experiment, we adapted and manipulated fragments from film, book and music reviews. Participants randomly read versions with either two ironie evaluations, two literal evaluations, or an ironie evaluation preceded by a literal evaluation. Findings show that literal evaluations (such as "we don't want to hear the local brass band play at a rock festival") were read faster than ironie evaluations (such as "we all love to hear the local brass band play at a rock festival"). However, ironie evaluations were read faster if they were marked by a preceding ironie evaluation. Fragments of negative reviews were interpreted as less negative if they contained irony. Irony thus muted criticism. In addition, appreciation of the reviews was higher if fragments contained two ironie evaluations.
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Orea-Giner, Alicia, Francesc González-Reverté i Laura Fuentes-Moraleda. "Impacts of a health crisis on music festivals: a qualitative approach". International Journal of Event and Festival Management 13, nr 2 (4.01.2022): 125–43. http://dx.doi.org/10.1108/ijefm-12-2020-0081.
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PurposeThis research explores the consequences of a health crisis provoked by a pandemic scenario on music festival impacts considered by the stakeholders involved. The purpose of this paper is to identify the perceptions from the stakeholders' point of view (host community, public and private sector) and to identify the impacts generated before and after a health crisis regarding the celebration of a festival.Design/methodology/approachThe study offers a holistic insight into impact research by music festivals. The methodology implemented is based on qualitative techniques. By conducting 20 in-depth interviews with essential stakeholders, it is possible to determine their perceptions of the impact of the event and the effects of a health crisis.FindingsThe results allow detecting a gap between internal and external stakeholders due to poor communication and planning of the event. The results show that a health crisis provokes negative impacts on the economic benefits of events' organisation. However, the cultural city's identity suffers an important damage that it is difficult to overcome. The community and visitors are the stakeholders that suffer a detrimental impact on their experience when attending the festival, considering the security measures. Moreover, results allow us to identify practical implications for event management and planning in a health crisis scenario.Originality/valueThe most important contribution of this research is the theoretical model proposed to analyse stakeholders' perception of the event celebration in a context of a health crisis. The model also considers different moments of the social exchange. The theoretical approaches considered theory of social exchange (SET) and Visitor, Industry, Community and Environment (VICE) models allow analysing the stakeholder's perception of a case study of a music festival (Viña Rock Festival, Spain). The emerging and central role of the cooperation between stakeholders constitutes another notable contribution to the literature.
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Goldenberg, Yosef. "The estranged quotation in Israeli popular music". Popular Music 32, nr 3 (13.09.2013): 497–519. http://dx.doi.org/10.1017/s0261143013000330.
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AbstractIsraeli popular music includes many quotations from earlier Israeli songs as well as other Israeliana references. Quotations may take various forms, from cover versions to the mere evocation of song titles. This phenomenon preceded the rockisation of Israeli music, had its apex in the 1970s with early rockisation, and is continuing today, despite a certain decline. The purpose of the quotations is often a mere interaction with traditional materials, but it also sometimes expresses a striving towards an experience of life that is more sincere. Two subtopics of special significance are adolescence and political critique. Since earlier hegemony in Israel was maintained by the old left, the rock music rebellion was not as anti-capitalistic as in the Woodstock Festival, rather manifesting anti-authoritarian trends similar to (but milder than) those encountered in Eastern Europe.
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PIEKUT, BENJAMIN. "Music for Socialism, London 1977". Twentieth-Century Music 16, nr 1 (luty 2019): 67–93. http://dx.doi.org/10.1017/s1478572219000100.
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AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.
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Steets, Silke. "Playing Chamber Music at a Rock Festival? The Social Construction of Reality in US Sociology". Human Studies 39, nr 1 (marzec 2016): 71–91. http://dx.doi.org/10.1007/s10746-016-9396-2.
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FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand". Journal of the Society for American Music 6, nr 2 (maj 2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.
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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece's inception, outlining the organological evolution of resophonic guitars and their relationship to Hawaiian music. It addresses the practical and aesthetic implications of the composer's choice of tuning, and examines the work of additional artists, such as Terry Riley and Larry Polansky, who have contributed to the growing repertoire for the just intonation resophonic guitar.
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Moscato, Derek. "The metanarrative of rural environmentalism: Rhetorical activism in Bold Nebraska’s Harvest the Hope". Public Relations Inquiry 8, nr 1 (styczeń 2019): 23–47. http://dx.doi.org/10.1177/2046147x18810733.
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The ongoing, decade-long fight against the Keystone XL Pipeline in the state of Nebraska has incorporated traditional levers of public relations such as media relations and lobbying but has also borrowed from the long-standing tradition of rhetorical activism within U.S. environmental history. Through Fisher’s narrative paradigm, a rhetorical analysis of Bold Nebraska’s Harvest the Hope music festival is provided to understand the role of symbolic appeals in building an environmental activism metanarrative or master frame. Such an analysis shows how the social movement organization communicates to its members and mass audiences through a non-traditional communication approach such as the benefit rock concert. As a site of public relations study, Bold Nebraska’s music festival activism draws from mainstream, alternative, and Indigenous cultural artifacts, symbols, and histories in contesting existing metanarratives. With its incorporation of historical ecological symbols and rhetorical tropes, Harvest the Hope helped attendees and audiences make sense of both the organization and the movement in which they found themselves a part of. By bringing rural and Indigenous communities together, it justified Bold Nebraska’s broader pipeline activism and helped audiences see the project through the lens of a broader, rural-based coalition.
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Höstman, Anna. "HEADLESS MUSICAL SEEDS AND GESTURES WITH ADJECTIVES: AN INTERVIEW WITH KEIKO DEVAUX". Tempo 76, nr 299 (15.12.2021): 5–17. http://dx.doi.org/10.1017/s0040298221000619.
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AbstractKeiko Devaux (b. 1982) is a Canadian composer, originally from British Columbia, who now lives in Montréal. She began her musical career in piano-performance studies as well as composing, touring and recording several albums in independent rock bands. Her concert music is widely performed throughout Canada and Europe. From 2016–18, Keiko was the composer in residence of Le Nouvel Ensemble Moderne. She joined Salvatore Sciarrino's masterclasses at L'Accademia Musicale Chigiana in Siena, Italy, between the years 2017 and 2019. Keiko was commissioned by music@villaromana festival, Florence, to create Echoic Memories. She is the inaugural winner of the Azrieli Commission for Canadian Music (2020) and is also engaged in a two-year residency as a Carrefour composer with the National Arts Centre Orchestra (2020–22). This interview was conducted over Zoom in late spring 2020, in the midst of the Covid-19 pandemic.
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BARZEL, TAMAR. "An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene". Journal of the Society for American Music 4, nr 2 (15.04.2010): 215–50. http://dx.doi.org/10.1017/s1752196310000039.
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AbstractIn April 1993 the Knitting Factory, a small nightclub in Lower Manhattan, hosted a five-day music festival titled “Radical New Jewish Culture.” This event was part of a multifaceted creative endeavor undertaken during the 1990s by composer/improvisers on New York City's downtown music scene and dubbed “Radical Jewish Culture” by its main protagonist, saxophonist John Zorn. RJC brought Jewish music and heritage into the purview of a polycultural experimentalist scene shaped by jazz, rock, free improvisation, and avant-garde concert music. Artists downtown also engaged in an animated “conversational community” that spilled over into interviews, program notes, liner notes, and essays. RJC was especially productive as a conceptual framework from which to interrogate the relationship between musical language and the semiotics of sound. Two pieces serve here as case studies: “¡Bnai!” an Israeli “pioneer song” as interpreted by the No Wave band G-d Is My Co-Pilot, and “The Mooche,” a Duke Ellington/Bubber Miley composition as interpreted by pianist Anthony Coleman's Selfhaters Orchestra.
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Ballou, Brian, Norman H. Godwin i Van Tilbury. "Riverfest: Managing Risk and Measuring Performance at Little Rock's Annual Music and Arts Festival". Issues in Accounting Education 15, nr 3 (1.08.2000): 483–512. http://dx.doi.org/10.2308/iace.2000.15.3.483.
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This case is based on the experience of one of the authors as executive director of Riverfest, Arkansas' largest annual music and arts festival, held in Little Rock on Memorial Day weekend. The case provides an opportunity to identify business process risks, evaluate and consider improvements to controls for those risks, and develop ways to measure elements of Riverfest's operations that can help improve or monitor the organization's performance. This case demonstrates how managing business risks and measuring business performance are critical for all types of organizations, including those not driven by profitability objectives. The case centers on Merle Flowers, a CPA who specializes in business process measurement and risk management for major events. Merle has been hired to provide Riverfest with suggestions on how to improve risk management and performance measurement for its key processes, including entertainment, cash management and security, sponsorship arrangements, vendor and beverage arrangements, physical security, and budgeting and reporting. This engagement is a value-added service that Merle is providing Riverfest, which has been successful in the past but is looking for continuous improvement opportunities in the future.
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Ridout, Sam. "Ellen Arkbro and Marcus Pal; Claudia Molitor, Decay, hcmf//, 16 November 2019". Tempo 74, nr 292 (6.03.2020): 85–86. http://dx.doi.org/10.1017/s004029821900130x.
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Ellen Arkbro has been much fêted in experimental scenes (though not – or not yet – so much in the sort of new music scenes with which hcmf// remains associated) for her two records, For Organ and Brass (2017) and CHORDS (2019). Her performance with Marcus Pal in St Paul's Hall in Huddersfield follows a number of other shows in the UK, including at TUSK festival in Newcastle and at the Barbican in London. The pair are based in Stockholm, where they seem to be part of a burgeoning experimental organ scene. Their just intonation drone music comes with impeccable credentials: both studied with La Monte Young, and Pal also studied with Catherine Christer Hennix. The organ emitted a quiet diminished octave as the audience filed in, a dissonance resolved as soon as Arkbro sat down at the organ manual. What followed appeared to be a reworked and extended version of CHORDS for organ: the organ articulating perfect intervals and single tones, sounding something like a harmonic series and something like the I–IV–V of rock and blues, while Pal's computer-generated additive synthesis, speakers carefully directed upwards parallel to the organ's pipes, combine with the organ's familiar sound to create dense and jagged masses, chords transforming into timbres and back again.
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Slobin, Mark. "The Silk Road Wends its Way to Washington". Middle East Studies Association Bulletin 36, nr 2 (2003): 194–99. http://dx.doi.org/10.1017/s0026318400044849.
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In the summer of 2002, more Americans – 1.3 million – heard the music of Central Asia in just a few days than in the entire previous history of the United States. Some 370,000 of them picked up the extensive, well-documented guidebook to the 36th annual Smithsonian Folklife Festival, which broke all attendance records. As they traipsed through the humid haze of the Washington Mall, staggering into the sun baked tents to see crafts and hear music, this crowd was in a good mood. Kids asked to see the Bactrian camels, who, like their handlers, were Texans. People crowded the sprawling crafts exhibits to watch artisans, then jammed the sales pavilions to scoop up gifts and albums, also at unprecedented levels. The surging spectators jammed the tents for most of the shows on the two days I was there. The reception was rousing. The organizers had brought not just “classic” performers, but contemporary musicians, like the Kazakh rock band Roksonaki. The small stock of their CDs sold out on the first day, and their performances regularly received standing ovations.
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RODRÍGUEZ-SOLÁS, DAVID. "Occupying Las Ramblas: Ocaña's Political Performances in Spain's Democratic Transition". Theatre Research International 43, nr 1 (marzec 2018): 83–98. http://dx.doi.org/10.1017/s030788331800007x.
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This article demonstrates that José Pérez Ocaña's political performances open up the possibility of questioning the narrative of the transition to democracy in Spain as one resulting from political consensus. Using sources available in documentaries and in the archives of the counterculture, the essay studies Ocaña as a political subject of the transition. Among his public acts, the essay considers his street performances, his sexually explicit performance in the Canet Rock music festival and in International Anarchist Days in 1977, and his problematic participation in gay pride parades in Barcelona. In his public appearances, Ocaña eroded the distinction between public and private while asserting his right to appear. Despite his prominence in countercultural realms, gay activists and anarchist organizations rejected him. I argue that Ocaña opted to disidentify with all labels as he confronted both gender norms and the countercultural public sphere.
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Supponen, Lauri. "In A Deepening Light: Musica nova Helsinki 2017". Tempo 71, nr 281 (21.06.2017): 96–98. http://dx.doi.org/10.1017/s0040298217000390.
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As the audience's rustling quietens along with the memories of everyday pulses, ethereal sounds appear. We are at Helsinki's iconic Rock Church, on the eighth night of the biennial Musica nova festival for contemporary music. The Helsinki Chamber Choir sound the first, lingering lines of György Ligeti's Lux Aeterna from the balcony, behind the audience. The peculiar acoustics give the illusion that the choir is hidden in between the crevasses and cracks of the stone wall in front. The listener is surrounded. Marvellously kept together by Nils Schweckendiek, the singers transform the colour of their voices into sine-tones and oboes in a strangely soothing way. This rendition now somewhat more present than the night before, when the choir echoed the same micropolyphonic lines across the aula of the Kiasma art museum. There the cool distance of the work really spoke in a mesmerising way, with an unreachable caress.
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HRISTOVA-VLADI, Svetlana D. "ROSES, TOMATO CHUTNEY AND RISING SUN: ON VISIBILITY OF THREE FESTIVALS IN BULGARIA". ANTHROPOLOGICAL RESEARCHES AND STUDIES 13, nr 1 (2023): 152–73. http://dx.doi.org/10.26758/13.1.10.
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Objectives. This study focuses on the visibility of three local festivals in Bulgaria: Rose Festival in Kazanlak, July Morning at Kamen bryag and the Festival of Peppers, Tomatoes, Traditional Foods, and Crafts in Kurtovo Konare. The research on festive visibility has been deconstructed to three components of analysis: story, local imagery and photogenicity (colors, photographic visuals). Material and methods. These include participant observations, in-depth interviews, analysis of visuals (both website and media ones as well as photographs, taken by the researcher), and desktop research of scientific literature and online media outlets. Results. The researcher conducted fieldwork as participant observer, interviewer, photographer, and visual analyst of festive events. It was discovered that the Rose Festival promotes pink symbols as prevalent elements of the cultural-historical branding, encompassing Thracian heritage and rose farming. July Morning has been commodified towards fragmented celebrations happening in the peripheral moment of 30th June and 1st July. This has obscured the sense of community and the sense of place affiliated with the initial phenomenon. Local farmers’ aesthetics and diligence play a central role in the publicity of Kurtovo Konare Fest: their agrarian knowledge and willpower to actively participate in social life, upskill and exchange know-how with fellow famers. Conclusions. The three local celebrations represent collections of sensations, colors, imagined experiences, memories, visitor’s expectations, sense of community and awoken sense of place. The optics of the Rose Festival in Kazanlak comprises of contrasting messages: the pink aesthetics is representing the beauty and the traditional means of local livelihood; however, the flashy pink ambience somewhat mutes the demands of the rose farmers, seen in the pieces of critical journalism. July Morning Festival has been largely deterritorialized from its original place to dispersed celebrations which do not recur the initial code of conduct. In the locality of Kamen bryag, however, the scent of wild nature and sea salt still reunites a few generations of like-minded people, mostly admirers of rock music and camping. The heart of the optics of Kurtovo Konare Fest are the village producers, eager to raise voices in defense of their production and generate a distinctive local ethos. Keywords: local festivals, story, visibility, local imagery, photogenicity.
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Álvarez Bulacio, Ricardo. "Carnaval Mil Tambores 2021 (Valparaíso, Chile): el retorno a la calle luego de la revuelta social y la pandemia". Cuadernos de Música, Artes Visuales y Artes Escénicas 18, nr 2 (1.07.2023): 64–83. http://dx.doi.org/10.11144/javeriana.mavae18-2.cvrp.
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El Carnaval Mil Tambores nace en 1999 en Valparaíso (Chile) como el resultado de una organización ciudadana autogestionada que buscaba la recuperación de un parque público que había sido vendido por el Estado chileno a una empresa inmobiliaria. Luego de la pandemia por covid-19, volvió a realizarse masivamente en octubre de 2021 retomando su denominación de Carnaval Constituyente, asociado al apoyo al proceso de redacción de una nueva constitución política en Chile que se encuentra en curso. El objetivo de este artículo fue indagar la historia de este carnaval como referente del activismo artístico en Chile y analizar su edición 2021, realizada luego del estallido social y la pandemia por covid-19, que interrumpió los cinco meses de movilizaciones asociadas que se habían iniciado el 18 de octubre de 2019. La metodología utiliza un enfoque cualitativo basado en trabajo de campo realizado por el autor en la celebración de 2021. Contiene entrevistas en profundidad con actores relevantes de la organización del festival, además del análisis de archivos de prensa y académicos sobre la percepción y representación de este carnaval en los medios. Los resultados de esta investigación permiten identificar el Carnaval Mil Tambores como un referente para entender el rol de las manifestaciones artísticas en los movimientos sociales desarrollados en Chile durante el siglo XXI que lograron su máxima visibilización durante la revuelta social. Junto con esto, permiten distinguir las estrategias desarrolladas tanto por sus organizadores como por las agrupaciones participantes para sobrevivir a la precariedad laboral generada tanto por el estallido como por la pandemia.
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Johnston, Lucas. "Worldview Analysis in a Comparative Context: Fishing for Data in Muddy Waters". Religions 9, nr 9 (3.09.2018): 261. http://dx.doi.org/10.3390/rel9090261.
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Drawing on the five-fold revision of the concept of “worldview” offered by the issue editors, I investigate whether some nonreligious modes of cultural production might be profitably investigated using such a typology. In my comparative study of religious and secular sustainability-oriented social movements I offered skeletal definitions of the categories “religion” and “sustainability,” and suggested ways in which public deployments of such terms might offer fertile ground for collaboration between individuals and groups with different value sets. In more recent work among particular rock music and festival scenes, I have found it necessary to offer a dramatically different understanding of the category “religion.” In a sort of thought experiment, I imagine whether the revised concept of “worldview” might be applicable, and indeed whether it offers some advantage over the category “religion.” My conclusions are that in general, in some cases the category of worldview may have some advantages, but it may also gloss over or ignore important cultural contestations over terms such as religion, and at best underplay important affective activators of belonging and identity. The notion of “ways of life,” or “lifeways” may offer a term which avoids some ethnocentric impositions, but would require greater elaboration to be broadly useful to ethnographers.
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Rocha, Frederico Rafael Vargas, Javier de Esteban Curiel i Luiz Rodrigo Cunha Moura. "Rock in Rio Festival: Influences of Brand Experience and the Brand Personality in Audience of a Music Festival in Brazil". Event Management, 2021. http://dx.doi.org/10.3727/152599521x16367300695861.
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Considering the existence of other studies in which the brand experience tested from the Brand Experience Model fails to verify the nomological validity in all their relations, represents a gap in the knowledge about the brand experience and exist little empirical evidence in consumption services like Rock In Rio Music Festival. This paper measures the brand experience of the Rock in Rio Musical Festival and verifies its relationships with brand personality, moreover consumers' attitudes and their behavioural intentions in terms of satisfaction and loyalty. A survey questionnaire was applied to the participants of Rock in Rio Music Festival by Facebook Ads and 864 online questionnaires were answered. Eight hypothesis were tested empirically by multivariate statistical analysis by the use of structural equation modeling. Findings indicate that the first order of constructs: sensory, affective, behavioural and intellectual formed the secondorder construct of brand experience and the first-order constructs of sincerity, excitement, competence and ruggedness formed the second-order construct of the brand personality. The brand experience focuses on the brand personality and both influences the satisfaction and loyalty to the brand and moreover this paper helps managers to increase the experiential marketing perception of their consumers at a music festival.
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F. Ploquin, Iyán. "Chamber music for rock festivals: textural references to progressive rock in Ketil Hvoslef’s Konsert for violin og pop-band (1979)". Revista Música Hodie 23 (5.03.2023). http://dx.doi.org/10.5216/mh.v23.73305.
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Abstract: Konsert for violin og pop-band is an example of the appropriation of a popular music genre within western art music. By means of instruments such as the electric guitar, this composition presents progressive rock textures that function as a genre synecdoche. This article presents a perceptual and semiotic analysis of this work to determine the characteristics of these textures and the connotations that they contribute. This is supported by the study of its cultural context and the different audiences it is intended for, from its premiere at a rock festival to its survival within the chamber music scene.
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Jechow, Andreas. "Let there be Skyglow—light pollution from a large outdoor music festival (Lollapalooza Berlin 2016)". Scientific Reports 14, nr 1 (22.05.2024). http://dx.doi.org/10.1038/s41598-024-62448-7.
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AbstractLive music is often linked to elaborate light shows, particularly at large outdoor music festivals. However, artificial light at night is one form of environmental pollution, light pollution, and because outdoor festivals emit a substantial amount of artificial light into the environment, they are a potential source of light pollution. So far, no studies that quantified the impact of such festivals on urban light pollution and skyglow exist. Here, the light pollution produced by a major rock festival (Lollapalooza Berlin 2016 with 70,000 visitors per day in an urban park) was investigated with ground-based radiometry and night-time light data. A small night-sky radiometer installed near the main stages and a calibrated digital camera from a nearby observation spot inside of the park were used to quantify changes in night sky brightness and direct light emissions within the park. The impact of the music festival on the urban skyglow was indeed measurable. Zenith luminance increased locally by up to a factor of 8 and illuminance increased by about 50% at the observation spot within the park. The radiance detected by night-time satellite was also increased during the festival. This is the first time, that light pollution from such a major rock music event was quantified.
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Kuligowski, Waldemar. "From ‘commercial sell out’ to community-based event: The paradoxes of Polish punk rock music festivals". Punk & Post Punk, 2021. http://dx.doi.org/10.1386/punk_00102_1.
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This article is based on both ethnographic field research and the author’s many years of experience as a punk fan. The researcher-participant analyses the 40-year history of two Polish music festivals in order to trace the complex trajectory and changing meaning of the punk subculture in Poland. The analysis is centred on two significant events: the Jarocin Rock Festival and the Rock on the Swamp Festival. The author suggests that the countercultural past of punk, rooted in the 1980s, is now being sentimentalized and commercialized. It is treated by conservative local authorities as an insignificant monument of the past. On the other hand, punk has become an agent of important and surprising social changes. A small festival in a provincial town is inclusive for its inhabitants, integrating two very different communities. Thanks to this, the notion of ‘selling out’ is contrasted in the form of a punk-inspired, community-based event.
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Peixoto Cabral, Cláudia. "Juventude, consumo, alimentação e práticas de comer na esfera do rock". ILUMINURAS 18, nr 45 (22.12.2017). http://dx.doi.org/10.22456/1984-1191.79135.
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O Festival de Rock Bananada movimenta Goiânia no mês de maio e promove a ampla circulação de pessoas, instaura práticas de sociabilidade e do comer. As transformações desde o início da realização do evento na cidade na década de 90, a ampliação de público e das atividades além da cena musical e da realização de shows musicais de rock, para as práticas do comer como mecanismos de sociabilidade pelo consumo e de distinção são tratados neste trabalho. O evento musical e cultural relaciona-se com a dinâmica econômica no âmbito da alimentação, não somente no espaço onde foi sediado o festival, mas em vários ambientes de lazer e entretenimento da cidade. A programação de alimentação, relacionada às práticas do comer, reuniu em 2017 vinte e sete estabelecimentos em um circuito gastronômico. Este artigo busca, portanto, analisar este processo de negociação, fluxo e circulação e o entrelaçamento entre cultura, poder, a dinâmica econômica, alimentação e o local na era da globalização.Palavras-chave: Cidade. Consumo. Rock. Juventude. Alimentação.Youth, consumption, eating and eating practices in the sphere of rockThe Bananada Rock Festival moves Goiânia in the month of May and promotes the wide circulation of people, establishes practices of sociability and eating. The transformations since the beginning of the event in the city in the 90's, the expansion of public and activities beyond the music scene and the performance of rock music shows, to the practices of eating as mechanisms of sociability by consumption and distinction are treated in this work. The musical and cultural event is related to the economic dynamics in the field of food, not only in the space where the festival was hosted, but in various leisure and entertainment environments of the city. The food program, related to the practices of eating, in 2017 brought together twenty-seven establishments on a gastronomic circuit. This article therefore seeks to analyze this process of negotiation, flow and circulation and the interweaving between culture, power, economic dynamics, food and the place in the era of globalization.Keywords: City. Consumption. Rock. Youth. Feeding.
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Bernhard, Ellen. "Conspicuous co-optation: Exploring the subculture and pop culture connection at Gainesville’s Fest". Punk & Post-Punk, 25.11.2023. http://dx.doi.org/10.1386/punk_00214_1.
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The purpose of this study is to understand the subcultural and commercial overlap that exists in the physical signifiers conspicuously co-opted by attendees and artists at Fest, a punk rock festival held in Gainesville, Florida. Contemporary punk rock does not exist in an insular space, shielded from the influences of popular culture, current events and mass media. Rather, this intersection of subculture and popular culture offers valuable perspective on how punk fans’ relationship to commercial culture remains a significant influence in this space today. This participant observation study investigates the co-opted and reinvented signifiers evident in this subcultural space at the 2022 festival, looking at a range of festival elements such as band merchandise and performances as evidence of this phenomenon.
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Brown, Alyssa Eve. "Co-creation and Engagement: What Festivalgoers Want in the UK Rock Festival Experience". Event Management, 2021. http://dx.doi.org/10.3727/152599521x16367300695690.
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This paper seeks to better understand the festivalgoers’ experience by determining what festivalgoers want at UK rock music festivals. Examining the experience journey, important attributes were identified in pre-, peri- and post-festival phases. Qualitative data was collected from 124 festivalgoers through semi-structured group interviews that were conducted on-site at three different UK rock festivals. Thematic analysis revealed the importance of co-creation and engagement through each phase of the festivalgoer experience. The practical implications of this study provide festival organisers with the opportunity to direct their management efforts on the strategic optimisation of experiences that may promote preferred consumer behaviour through positive word of mouth and future reattendance. Moreover, this article offers a conceptual model of the festivalgoer experience.
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Podunay, Yana. "Production Agencies and Music Festivals as Factors of Stylistic Renewal of Ukrainian Pop Songs of the 1990s". Collection of scientific works “Notes on Art Criticism”, nr 44 (21.12.2023). http://dx.doi.org/10.32461/2226-2180.44.2023.293940.
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The purpose of the research. The study characterises the activities of production agencies and music festivals as factors in the stylistic renewal of Ukrainian pop songs in the 1990s. The research methodology consists in the use of historical-cultural, systemic, and musical-analytical methods and approaches, which made it possible to determine the importance of production agencies and music festivals in the formation of the soundscape of the Ukrainian pop music in the 1990s. The scientific novelty of the work lies in the fact that for the first time the activities of production agencies and music festivals were characterised as factors in the formation of the style of Ukrainian pop music in the 1990s. Conclusions. In the 1990s, there was a reorientation of Ukrainian pop music from the Soviet to the Western organisational model, in which production agencies played an important role, and the festival movement received a pronounced promotional function. Popular music, with the support of production agencies and the festival movement, during this period becomes an important factor in the Ukrainisation of society thanks to stylistically relevant Ukrainian-language song content. The most organic combination of promotional-commercial and national-educational components was in the activities of the production agency “Territory A” and the festival “Red Rue”. Thanks to the Western organisational model and the Ukrainian-centric approach, the Ukrainian-language pop song of the 1990s was represented by all musical styles (pop music, rock, rap, folk, bard song) and was distinguished by stylistic pluralism, which responded to current trends in world popular music and at the same time took into account pop songs previous years.
Keywords: popular music, Ukrainian pop song of the 1990s, production agency “Territory A”, popular music festival “Red Rue”, musical style.
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Lushchyk, Mariya. "THEORETICAL ASPECTS AND DEVELOPMENT OF EVENT TOURISM IN KHMELNYTSKA OBLAST (REGION)". Young Scientist 10, nr 86 (październik 2020). http://dx.doi.org/10.32839/2304-5809/2020-10-86-11.
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The article reveals the features of event tourism in Khmelnytska Oblast (region) and describes the main events that are of tourist interest. The classification of event resources by subject, scale, as well as the genesis and factors of time and frequency of events is given. Variants of division of event tourism by direction of tourist flows, scale, age of travellers, intensity of tourist flows, sources of financing, duration of travel, composition of groups and organizational forms, etc. are covered. An attempt to describe in detail the main festivals of the city and region was made. The geographical location, cultural, social and environmental initiatives of the festi-val RespublicaFEST are described, as well as the innovations that the event has un-dergone due to quarantine restrictions. The peculiarities of holding a number of events are revealed: festival of historical reconstructions «Ancient Medzhibizh», fes-tival of Ukrainian rock music «Rock & Buh», festival of jazz lovers «Podil-lyaJazzFest», festival of Ukrainian chamber music «Khmelnitsky chamber-fest», youth festival «Green Fest», international festival of mono-performances «Echo», region authentic folk groups «God bless, start the summer, glorify Christ!», festival of children's amateur theatre groups «Theatrical Mosaic», gastronomic festival «Honey Savior», street food festival «Proskuriv delicacies». It is noted that event tourism in Khmelnytska Oblast (region) can become a priority and promising area of promotion of the tourist brand of the region. It was found that despite the fact that the region already boasts successful festivals, event tourism in the region is still not given due attention both at the state level and in the activities of local governments. The need to intensify the development of event tourism in the region, in which the priorities should be: tourism promotion, a positive image of the region, creating an up-to-date calendar of events that could interest tourists, proper financing of costs associated with organizing events, strengthening the marketing component, stimulating tourist enterprises to develop event tours and training highly qualified personnel for their coordination and implementation, logistics and the necessary infrastructure for each event and the proper safety of tourists during its holding.
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Marcus, Alan P. "When Brazil Got the Blues: The Diffusion of Blues in Brazil". Brasiliana: Journal for Brazilian Studies 10, nr 2 (18.02.2022). http://dx.doi.org/10.25160/bjbs.v10i2.125517.
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The focus of this article is to understand and examine the phenomenon of the introduction of blues as a musical genre in Brazil (1985-1992), which has never been studied. By highlighting the processes of globalization and the Brazilian blues band from Rio de Janeiro, Blues Etílicos, I ask what were the spaces, places, and venues that helped to disseminate blues throughout Brazil? How does an African-American-based genre adopted and popularized by upper-and-middle-class white urbanites in Brazil? To answer these questions, I examine political, musical, and cultural backdrops, and the end of Brazil’s military dictatorship in 1985, which overlapped with a major Brazilian rock festival, “Rock in Rio,” and Brazil’s first blues festival in Ribeirão Preto in 1989. This article adds to the scholarly literature of blues and music geography by looking at ongoing discussions of Brazil’s changing political, cultural, and musical landscapes.