Rozprawy doktorskie na temat „Rock music festivals”

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

We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.

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

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

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

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

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

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

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

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

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

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

I denna uppsats undersöks habitus påverkan på vilken slags festival människor väljer att besöka och varför. Med dagens stora utbud av festivaler och det nya festivallandskapet som har växt fram de senaste åren finns det något för alla som är intresserade. Syftet är att med hjälp av kvalitativa intervjuer försöka definiera vad det är som gör en festival intressant för vissa och helt ointressant för andra och hur detta kan kopplas samman med Bourdieus teori om habitus. För att stärka teorin används även två av Bourdieus andra teorier inom det sociologiska fältet, symboliskt kapital och det sociala fältet. Studien har visat att informanternas intresse för musik och för att besöka festivaler startade när de var unga. Med åren har deras habitus förändrats och vad man vill få ut av en festival i vuxen ålder skiljer sig från vad som ansågs viktigt när man var yngre. Tydliga exempel är att man vill sova gott och att man inte vill ”vara fast” på ett festivalområde. Därför har stadsfestivalerna blivit ett alternativ för många. Dock finns det grundläggande syftet till varför man besöker en festival kvar även i vuxen ålder; man vill höra musik och njuta av stämningen. Detta är något som inte är begränsat till vilken festival man besöker utan styrs av smak och sociala grupper. När det finns både campingfestivaler och stadsfestivaler ges individen möjlighet att välja och det finns något för alla som vill besöka festivaler. Uppsatsen ligger inom det musiksociologiska forskningsområdet och tar upp frågor gällande interaktionen mellan personer, deras habitus och deras festivalupplevelser. Tillsammans bildar de ett forskningsområde som inte har berörts tidigare.

碩士
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.

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

張武宜.
"2013年9月".
"2013 nian 9 yue".
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 229-239).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhang Wuyi.

碩士
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.

碩士
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).

碩士
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.