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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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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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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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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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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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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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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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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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Brooks, Sarah, Alexandre Magnin i Dan O'Halloran. "Rock On!: bringing strategic sustainable development to music festivals". Progress in Industrial Ecology, An International Journal 6, nr 3 (2009): 285. http://dx.doi.org/10.1504/pie.2009.031066.
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad 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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KARAMOY, Arindra Khrisna, Rudy HARJANTO i Yunita SARI. "ANALYZING VOICE OF BACEPROT’S COMMUNICATION ACTIVITIES WITH THE ROCK MUSIC COMMUNITY". ICCD 5, nr 1 (27.11.2023): 364–69. http://dx.doi.org/10.33068/iccd.v5i1.627.
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There has been interest in the Voice of Baceprot phenomenon. They received invitations to play at rock music festivals, and foreign media also wrote about them. This study aims to investigate the factors contributing to this band's appeal and acceptance among domestic and international rock music audiences, consisting of three young Muslim women wearing hijabs. The case study approach is used in this qualitative research technique. This study concludes that the identity of the Voice of Baceprot plays a significant role in boosting their acceptance and popularity in the rock music scene. In addition to their identity, evidence was found that the media and the larger global context influenced their rising popularity.
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Siles, David. "Social Sustainability in Music Festivals: The Case of Rock Imperium". International Journal of Social Sustainability in Economic, Social, and Cultural Context 20, nr 1 (2024): 83–100. http://dx.doi.org/10.18848/2325-1115/cgp/v20i01/83-100.
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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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Bourdage, Monique. ""A Young Girls Dream": Examining the Barriers Facing Female Electric Guitarists". IASPM Journal 1, nr 1 (8.04.2010): 1–16. http://dx.doi.org/10.5429/334.
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Critics who locate the instrument’s inaccessibility to women solely in its physical design overlook cultural reasons for the lack of great female electric guitarists. The same barriers that prevent women from succeeding in other male-dominated fields also apply to the electric guitar, such as a scarcity of role models, a lack of access to education, and the masculinization of prestigious technologies. Despite allusions to rebellion, rock ‘n’ roll often promotes traditional gender roles. This paper examines the creation of along with efforts to break down these barriers, which have included women’s music festivals, riot grrrl, and rock camps for girls.
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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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Zhabeva Papazova, Julijana. "Alternative Rock Music in Yugoslavia in the Period Between 1980-1991 and its Influence on the Present Musical and Cultural Life in Macedonia, Serbia and Croatia". IASPM Journal 4, nr 1 (17.11.2013): 117–19. http://dx.doi.org/10.5429/673.
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Doctoral dissertation "Alternative rock music in Yugoslavia in the period between 1980-1991 and its influence on the present musical and cultural live in Macedonia, Serbia and Croatia" has five main chapters: Introduction; First chapter-Theoretical aspect of the dissertation; Second chapter-Alternative rock, definition, origin, development; Third chapter-Socio-cultural aspect; Fourth chapter-Music analyze; Fifth chapter-The influence of Yugoslav alternative rock into the musical and cultural live at the territories of Macedonia, Serbia and Croatia after 1991; Conclusion; Bibliography; Appendix. The first theoretical chapter present the development of the scientific research based on musical communications, music analyze, recorded music, musical scenes and methodology of work. The second chapter present the definition of alternative rock, ideology of alternative music and short history of alternative rock in the western and non-western world. The third chapter present the historical socio-cultural development of Yugoslav alternative rock throughout chronology of development, the relationship between rock music and society, politics and culture. The fourth chapter is dedicate to the music analyze of five selected Yugoslav alternative rock songs: Samo ponekad (‘Only Sometimes’) by Šarlo akrobata (‘Šarlo acrobat’) from Belgrade; Država (‘The State’) by Laibach from Trbovlje; Gradot e nem (‘The City is Mute’) by Mizar from Skopje; Nočas se Beograd pali (‘Tonight will Belgrade burn’) by Grč (‘Spasm’) from Rijeka and Vagabonds by SCH (an abbreviation for schizophrenia) from Sarajevo. The last chapter present the period after 1991 and defined the influence of Yugoslav alternative rock at the territory of ex-Yugoslavia created through the activities of bands, magazines, festivals and record labels. The influence of the Yugoslavian alternative rock from the eighties to the time after 1991 in Macedonia, Serbia and Croatia is expressed in consumption, production, exchange and network connections between music and cultural organizations, groups, organizers and journalists working in different locations.
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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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Kelman, Kristina, i David Cashman. "Industry-Based Popular Music Education: India, College Rock Festivals, and Real-World Learning". Journal of the Music and Entertainment Industry Educators Association 19, nr 1 (2019): 73–97. http://dx.doi.org/10.25101/19.3.
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Bialka, Szymon, Piotr Zagorski, Hanna Misiolek, Maria Legierska, Jacek Karpe, Ewa Podwinska i Przemyslaw Jalowiecki. "Familiarity with first-aid rules by attendees at rock-music festivals in Poland". Resuscitation 82, nr 4 (kwiecień 2011): 492. http://dx.doi.org/10.1016/j.resuscitation.2010.11.025.
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Waksman, Steve. "Live Recollections: Uses of the Past in U.S. Concert Life <br> doi:10.5429/2079-3871(2010)v1i1.9en". IASPM Journal 1, nr 1 (8.04.2010): 1–16. http://dx.doi.org/10.5429/325.
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As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1920s and 1930s, when early jazz concerts referenced the past to highlight the music's progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape.
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Kurapov, Anton, i Mykhailo Kandykin. "CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES". Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, nr 2 (12) (2020): 52–56. http://dx.doi.org/10.17721/bsp.2020.2(12).9.
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This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.
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Gibson, Lisanne. "Cultural development meets rock and roll (or what government can learn from pop music festivals)". International Journal of Cultural Policy 7, nr 3 (wrzesień 2001): 479–92. http://dx.doi.org/10.1080/10286630109358157.
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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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Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL". Scientific Journal of Polonia University 43, nr 6 (18.06.2021): 9–15. http://dx.doi.org/10.23856/4301.
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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.
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Figueroa, Michael A. "“Behind the Sounds”". Journal of Musicology 38, nr 4 (2021): 401–18. http://dx.doi.org/10.1525/jm.2021.38.4.401.
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In this article I explore the aesthetics and political valence of shirei meshorerim (SM), a body of Israeli sung poetry that emerged out of a series of radio programs, festivals, and recording projects beginning in the 1970s and drawing on long-standing local practices in both Palestine/Israel and contemporary Mediterranean sung-poetry movements. I argue that the development of SM was characterized by an aesthetic distinction, wherein the high cultural register of poetry—a value produced by both the domestic discourse on art vis-à-vis politics and the broader global discourse in which the local field was embedded—and an associated move to cosmopolitanize music production contributed to the “cultural accreditation” of post-1967 pop-rock in Israel. This article explores what poetry meant for song, and vice versa, in Israel during the 1970s and 1980s through sociopolitical analysis and close listening to the text-setting practices and stylistic affinities of two musicians strongly identified with SM: Matti Caspi and Shlomo Gronich.
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Gusāns, Ingars. "CHARACTERISTICS OF LATGALIAN POPULAR MUSIC (2005–2016)". Via Latgalica, nr 10 (30.11.2017): 113. http://dx.doi.org/10.17770/latg2017.10.2768.
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Looking at the events of the last decade in the life of Latgalian popular music, there may be twofold feelings; one will feel that in the field of popular music life is in full swing; another will feel that everything is stunted and hopeless. The purpose of the research is to describe the situation of Latgalian popular music (success, problems) between 2005 and 2016. The object of the research is Latgalian groups and performers. In the given study, the concept of the popular Latgalian music is presented, which includes pop music, rock music, jazz, rap, and other styles of popular music that may involve folk elements, as well as shlager music performed in the Latgalian language, as well as its authors (preferably) have a kinship with Latgale and who (preferably) have released at least one album where at least one song (preferably not a folk song) is in Latgalian, and even if it is a folk song, then in a less traditional arrangement. The following resources are used: correspondence with musicians, Internet resources, author’s own observations as a listener and as a musician. In Latgale musical tendencies keep up with the times and, this is also confirmed by one of the few music reviewers who mentions Latgalian music, Sandris Vanzovičs, here (in Latgale) virtually all the music styles of the world are represented, all niches are filled (Gusāns 2015: 1). Latgalian popular music has high quality ethno-rock artists – „Laimas muzykanti”, poprock group „Bez PVN”, „Dabasu Durovys”, specific rap group „Borowa MC”, strong rock and metal performers „Green Novice” and Sovvaļnīks, and a representative of ethno jazz Biruta Ozoliņa. Also in the last few years an interesting alternative stage has been created represented by the group „Kapļi” and „Jezups i Muosys”. Between 2005 and 2016 at least 39 albums of Latgalian popular music have been released. The most successful style for Latgalian performers („Galaktika”, „Ginc un Es”, Inga un Normunds, „Baltie Lāči”, „Patrioti. Ig”, „Dricānu Dominante”, etc.) was and still is the shlager music style, where several performers are still active and gaining success in the main criterion of Latvian music evaluation - in different song polls. The list of successes for pop and rock musicians is not so long, also taking into account the differences in the rating system, usually only the winner is emphasized; therefore, getting on the list of the five nominees for the given prize is highly appreciated. The biggest problem in Latgale and also in Latvian music is the decline of the music market. The greatest potential for loss and success is the introduction of new technologies, which make the majority of listeners choose to play music on their phone or computer, resulting in the loss of significance of music recorded in CDs. Artists are now trying to distribute music through the Internet, where much is determined by chance for the group to be noticed among other amounts of information and thus begins to symbolically earn on the sale of recordings on the Internet, but very often there are situations where high quality performances and lovely songs are left unnoticed. Thus, it is also musicians' own responsibility for the originality of the material being placed on the Internet, both in musical, textual and visual form, to promote visibility. The second biggest problem is the decrease in the audience that affects musicians in several ways: a) the decrease of the number of people, including the Latgalian audience (emigration), makes the sale of CDs meaningless; the lack of purchasers; b) the decrease of population also has an effect on the concerts and festivals; c) not only a part of the public, but also talented musicians emigrate in relation to the economic situation. Also, the third problem of Latgalian popular music is very topical; it is the place of Latgalian culture in the Latvian media, here it is worth noting the intolerance of the Latvian media, especially the strongest broadcasting stations (with a few exceptions over a decade) against songs performed in Latgalian. Therefore, Latgalian groups can rarely present their musical compositions elsewhere in Latvia, as a result of which many performers write songs in Latvian, not in Latgalian. It is necessary to emphasize that in recent years musicians („Dabasu Durovys”, „Green Novice”, etc.) pay more attention to the written language and its consistent use in published texts and song titles unless it is presented as a stylistic, specific feature of the group. Thus group texts can be mentioned as worth considering for people who want to learn or get in touch with Latgalian texts. Acquiring a place on the Latvian music market depends on many factors – recognizable, high quality song, successful management, solid concert performance, and elaborate group image and, above all, the idea of why it is being done.
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Vuletic, Dean. "Generation Number One: Politics and Popular Music in Yugoslavia in the 1950s". Nationalities Papers 36, nr 5 (listopad 2008): 861–79. http://dx.doi.org/10.1080/00905990802373579.
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Popular music is one of the cultural phenomena that has been most shared among the peoples inhabiting the territory of the former Yugoslavia; indeed, considering the persistence of a common popular music culture there even after the break up of the Yugoslav federation in 1991, there is perhaps little in cultural life that unites them more. It was in the 1950s that a Yugoslav popular music culture emerged through the development of local festivals, radio programs and a recording industry, at a time when popular music was also referred to as “dance,” “entertainment” or “light” music, and when jazz, pop and, by the end of the decade, rock and roll were the styles of it that were being listened to in Yugoslavia and around the world. However, the development of a Yugoslav popular music culture at this time was rooted not only in international cultural trends but was also shaped by the domestic and foreign policies that were pursued by the ruling Communist Party of Yugoslavia (CPY), which was renamed the League of Communists of Yugoslavia (LCY) in 1952. Through its cultural, economic and foreign policies, the party sought to define Yugoslavia's position in Cold War international relations, develop a sense of Yugoslav identity among its multinational citizenry, and reconstruct and modernize a country that had suffered some of the greatest losses in Europe in the Second World War—and which had, just before it, been one of the Continent's least developed states, not only economically but also in terms of cultural infrastructure. In the cultural sphere, investments were needed immediately after the war to redress the facts that Yugoslavia had high rates of illiteracy and low rates of radio ownership by European standards, that cultural activities beyond folklore remained the purview of a small urban elite, and that it lacked musical artists, schools and instruments—with great disparities in all of these measures existing between its more developed northern areas (Slovenia, Croatia and northern Serbia) and the poorer south (Bosnia-Herzegovina, Macedonia, Montenegro and southern Serbia). For example, with regards to radio ownership, in 1946 the number of individuals per radio ranged from 40 in Slovenia, 48 in Croatia and 91 in Serbia to 137 in Macedonia, 288 in Bosnia-Herzegovina and 702 in Montenegro, with the average for all of Yugoslavia being 78.
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Carter, Lyndal, Deborah Black, Anita Bundy i Warwick Williams. "An Estimation of the Whole-of-Life Noise Exposure of Adolescent and Young Adult Australians with Hearing Impairment". Journal of the American Academy of Audiology 27, nr 09 (październik 2016): 750–63. http://dx.doi.org/10.3766/jaaa.15100.
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Background: Since amplified music gained widespread popularity, there has been community concern that leisure-noise exposure may cause hearing loss in adolescents and young adults who would otherwise be free from hearing impairment. Repeated exposure to personal stereo players and music events (e.g., nightclubbing, rock concerts, and music festivals) are of particular concern. The same attention has not been paid to leisure-noise exposure risks for young people with hearing impairment (either present from birth or acquired before adulthood). This article reports on the analysis of a subset of data (leisure participation measures) collected during a large, two-phase study of the hearing health, attitudes, and behaviors of 11- to 35-yr-old Australians conducted by the National Acoustic Laboratories (n = 1,667 hearing threshold level datasets analyzed). The overall aim of the two-phase study was to determine whether a relationship between leisure-noise exposure and hearing loss exists. Purpose: In the current study, the leisure activity profiles and accumulated (“whole-of-life”) noise exposures of young people with (1) hearing impairment and (2) with normal hearing were compared. Research Design: Cross-sectional cohort study. Study Sample: Hearing impaired (HI) group, n = 125; normal (nonimpaired) hearing (NH) group, n = 296, analyzed in two age-based subsets: adolescents (13- to 17-yr-olds) and young adults (18- to 24-yr-olds). Data Collection and Analysis: Participant survey. The χ2 test was used to identify systematic differences between the leisure profiles and exposure estimates of the HI and NH groups. Whole-of-life noise exposure was estimated by adapting techniques described in ISO 1999. Results: For adolescents, leisure profiles were similar for the two groups and few individuals exceeded the stated risk criterion. For young adults, participation was significantly lower for the HI group for 7 out of 18 leisure activities surveyed. Activity diversity and whole-of-life exposure were also significantly lower for the HI group young adults. A substantial number of individuals in both groups reported participation in leisure activities known to involve high noise levels (HI < NH). The individual whole-of-life exposures for the HI and NH participants were estimated and group median exposures were calculated. The median exposure for HI group young adults was significantly lower than that for the NH group (710 versus 1,615 Pa2 h [Pascal squared hours]). Conclusions: The number of young adults with estimated exposure above the chosen noise-risk criterion in the NH group is concerning. With respect to the goals of hearing loss prevention initiatives, the more conservative social behavior (e.g., less nightclubbing) observed among HI group young adults may be regarded as a positive finding, but it could also signify relative social disadvantage for some young adults with hearing impairment.
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Caïe, Thibault, Léa Garcia, Amandine Schreiber i Laure Turner. "Billetterie du spectacle vivant en 2022". Culture chiffres N° 4, nr 4 (25.04.2024): 1–24. http://dx.doi.org/10.3917/culc.234.0001.
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Théâtre, cirque, musique, danse ou encore seul-en-scène… le spectacle vivant, deuxième secteur culturel en matière de poids économique après l’audiovisuel, couvre une large variété de domaines esthétiques. D’après les données déclarées auprès du dispositif du ministère de la Culture SIBIL (Système d’information billetterie) et enrichies de celles du Centre national de la musique (CNM) et de l’Association pour le soutien du théâtre privé (ASTP), au moins 200 000 représentations de spectacle vivant ont été données en 2022, qui ont rassemblé 53 millions de spectateurs et généré une recette de billetterie de 1,7 milliard d’euros. La diversité du spectacle vivant induit une grande hétérogénéité d’un domaine esthétique à l’autre mais aussi au sein d’un même domaine, où le nombre de représentations, de spectateurs, la recette par billet et par représentation varient. Ainsi, les concerts rassemblent la moitié du public et génèrent les recettes les plus élevées (1 milliard d’euros, soit 60 % de la recette totale de billetterie) devant le théâtre et les arts associés (27 % du public et 320 millions d’euros), les comédies musicales, l’humour, le cabaret, le music-hall (18 % et 290 millions d’euros) et la danse (5 % et 74 millions d’euros). Cependant, une représentation de spectacle vivant sur deux relève du théâtre ou des arts associés, souvent jouée dans de plus petites salles (140 spectateurs en moyenne par représentation) que pour les représentations musicales (570 spectateurs), les spectacles de danse (300 spectateurs) ou d’humour (195 spectateurs). C’est en Île-de-France que sont données quatre représentations sur dix de spectacle vivant mais l’offre de festivals participe fortement à la vitalité culturelle des territoires. Les festivals rassemblent 400 spectateurs par représentation, moyenne qui varie de 80 pour le théâtre ou le conte, marionnettes et mime à 1 800 pour le pop, rock et 3 500 pour le rap, hip-hop, ces deux derniers genres musicaux générant les recettes les plus élevées. Si la diversité des propositions artistiques est grande, celle des déclarants l’est aussi. Une représentation sur deux est déclarée par une société commerciale, une sur trois par une association et une sur six par un établissement public ou une collectivité territoriale. Parallèlement, deux représentations sur dix sont données au sein du réseau constitué par les établissements publics nationaux ou les structures auxquelles le ministère de la Culture a délivré un label ou une appellation. Pour ces structures, la reprise post-crise sanitaire est lente : le nombre de représentations déclarées en 2022 excède de 6 % celui de 2019, mais la fréquentation est en baisse de 7 % et les recettes, de 11 %. La fréquentation et les types de spectacle proposés sont ainsi détaillés dans cette étude qui établit une toute première photographie de la billetterie du spectacle vivant en 2022.
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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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Milsten, Andrew M., Joseph Tennyson i Stacy Weisberg. "Retrospective Analysis of Mosh-Pit-Related Injuries". Prehospital and Disaster Medicine 32, nr 6 (3.07.2017): 636–41. http://dx.doi.org/10.1017/s1049023x17006689.
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AbstractObjectivesMoshing is a violent form of dancing found world-wide at rock concerts, festivals, and electronic dance music events. It involves crowd surfing, shoving, and moving in a circular rotation. Moshing is a source of increased morbidity and mortality. The goal of this study was to report epidemiologic information on patient presentation rate (PPR), transport to hospital rate (TTHR), and injury patterns from patients who participated in mosh-pits.Materials and MethodsSubjects were patrons from mosh-pits seeking medical care at a single venue. The events reviewed were two national concert tours which visited this venue during their tour. The eight distinct events studied occurred between 2011 and 2014. Data were collected retrospectively from prehospital patient care reports (PCRs). A single Emergency Medical Service (EMS) provided medical care at this venue. The following information was gathered from each PCR: type of injury, location of injury, treatment received, alcohol or drug use, Advanced Life Support/ALS interventions required, age and gender, disposition, minor or parent issues, as well as type of activity engaged in when injured.ResultsAttendance for the eight events ranged from 5,100 to 16,000. Total patient presentations ranged from 50 to 206 per event. Patient presentations per ten thousand (PPTT) ranged from 56 to 130. The TTHR per 10,000 ranged from seven to 20. The mean PPTT was 99 (95% CI, 77-122) and the median was 98. The mean TTHR was 16 (95% CI, 12-29) and the median TTHR was 17. Patients presenting from mosh-pits were more frequently male (57.6%; P<.004). The mean age was 20 (95% CI, 19-20). Treatment received was overwhelmingly at the Basic Life Support (BLS) level (96.8%; P<.000001). General moshing was the most common activity leading to injury. Crowd surfing was the next most significant, accounting for 20% of presentations. The most common body part injured was the head (64% of injuries).ConclusionsThis retrospective review of mosh-pit-associated injury patterns demonstrates a high rate of injuries and presentations for medical aid at the evaluated events. General moshing was the most commonly associated activity and the head was the most common body part injured.MilstenAM, TennysonJ, WeisbergS, Retrospective analysis of mosh-pit-related injuries. Prehosp Disaster Med. 2017;32(6):636–641.
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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