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Добірка наукової літератури з теми "Jazz-Festival"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 27 липня 2024

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Статті в журналах з теми "Jazz-Festival"

1

Medbøe, Haftor, and Diane Maclean. "Islay Jazz Festival." Jazz Research Journal 12, no. 2 (December 13, 2019): 213–36. http://dx.doi.org/10.1558/jazz.40304.

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2

Christiani, Jessica. "Perspektif Bisnis Dalam Prambanan Jazz Festival Yogyakarta." PROMUSIKA 10, no. 2 (December 3, 2022): 113–22. http://dx.doi.org/10.24821/promusika.v10i2.7354.

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Prambanan Jazz sebagai salah satu festival musik skala internasional. Prambanan Jazz tergolong dalam kategori festival musik profit. Secara eksplisit festival Prambanan Jazz dapat dilihat melalui deretan musisi popular yang dihadirkan, pemberian harga tiket yang cukup mahal, serta terlibatnya pihak sponsorship dalm acara. Prambanan Jazz merupakan fenomena sosial adalah salah satu festival musik yang berhasil memperoleh loyalitas dan animo masyarakat. Fakta di lapangan seputar euphoria masyarakat menyambut hadirnya Prambanan Jazz dengan bukti dari penjualan tiket yang habis terjual dan meningkatnya antusias penonton dari tahun ke tahun. Studi tentang sebuah festifal seperti Prambanan Jazz ini dilakukan untuk mengupas dimensi bisnis dari pertunjukan musik dalam bentuk festival dan mengungkap perspektif bisnis tim pengelola. Tujuannya penelitian adalah untuk mengetahui kacamata tim promotor dalam mengelola sisi bisnis Prambanan Jazz, serta strategi dibalik kesuksesan festival. Metode studi yang digunakan adalah kualitatif deskriptif. Data yang dikumpulkan melalui wawancara dengan 4 orang narasumber yang merupakan tim inti pengelola. Hasil temuan penelitian ini menunjukkan terdapat dua pilar utama bisnis yang ada dalam Prambanan Jazz Yogyakarta. Pilar pertama adalah bisnis pertunjukan musik yang meliputi konsep dan konten yang dihadirkan dalam festival. Pilar kedua adalah tentang bisnis di dalam venue. Pengelolaan Prambanan Jazz Yogyakarta cenderung menggunakan strategi win win solution, serta strategi kurasi musik demi mendukung optimalisasi penyelenggaraan festival.AbstractBusiness Perspectives in Prambanan Jazz Festival Yogyakarta. As one of the international scale music festivals, Prambanan Jazz belongs to the category of profit music festivals. This can be seen explicitly through the rows of popular musicians presented, the ticket prices are quite expensive, and the involvement of sponsors in the event. The social phenomenon where Prambanan Jazz Festival has become one of the festivals that has managed to gain the loyalty and interest of the community cannot be avoided. Facts on the ground regarding the community's euphoria welcoming Prambanan Jazz Festival 's presence, to the fact that tickets were sold out, and the increasing enthusiasm of the audience from year to year are proof that this festival has succeeded in winning the hearts of the public.This study was conducted to explore the business dimension of this festival and reveal the business perspective of the management team. The aim is to find out the perspective of the promoter team in managing the business side of Prambanan Jazz, as well as the strategy behind the success of this festival. The study method used is descriptive qualitative. Data was collected through interviews with 4 informants who are the core management team. The findings of this study indicate that there are two main business pillars in Prambanan Jazz Festival. The first pillar is the music show business which includes the concept and content presented at the festival. The second pillar is about the business within the venue. In its management, it tends to use a win win solution strategy and music curation strategy to support the optimization of the festivalKeywords: Music Festival; Prambanan Jazz; Business
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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.

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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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Handyastuti, Indriyani, Dwiesty Dyah Utami, and Vanda Nirma Audita. "LOCAL COMMUNITIES PERCEPTION ON THE IMPACT OF PRAMBANAN JAZZ FESTIVAL." Journal of Indonesian Tourism, Hospitality and Recreation 3, no. 2 (October 29, 2020): 103–16. http://dx.doi.org/10.17509/jithor.v3i2.28568.

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The development of the organization of the event now starts to vary and provides a valuable and impressive experience for many people. So, from that along with its development, the event appeared increasingly unique both in terms of concept to the venue used. One of the events that have its uniqueness is the festival. In this case, the Prambanan Jazz Festival is one of the types of events that are used as the focus of research. Organizing an event can have an impact on the surrounding community, both in terms of social, environmental, and economical. Communities in the surrounding environment will have different perceptions about the impact of the event. An event can be considered as successful if the community perceives the positive benefit from the event and give considerable support. The research method used in this study is quantitative with descriptive analysis. The purpose of this study was to find out how local people perceive the impact of the implementation of Prambanan Jazz Festival on social, environmental, and economic impacts. The result of this study indicates that the Prambanan Jazz Festival had a little social impact on local communities. The Prambanan Jazz Festival does not provide significant environmental impact from some of the main aspects of this study. In addition, the implementation of the Prambanan Jazz Festival has not affected the economy around the event area due to the absence of programs made by the event organizers to support the economy of the surrounding community.Keywords: Local Communities Perception, Prambanan Jazz Festival, The Impact of Event
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Oakes, Steve. "Profiling the jazz festival audience." International Journal of Event and Festival Management 1, no. 2 (July 16, 2010): 110–19. http://dx.doi.org/10.1108/17852951011056892.

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Deschênes, Bruno. "The Montreal International Jazz Festival." Popular Music 19, no. 2 (April 2000): 253–55. http://dx.doi.org/10.1017/s0261143000000155.

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The Festival International de Jazz de Montréal (Montreal International Jazz Festival), which celebrated its twentieth anniversary in 1999, has become one of the most popular music festivals in the world, attracting in just twelve days more than a million and a half people. Most visitors are Canadians and Americans, but Europeans are attending in greater numbers each year.The first Festival, held in the summer of 1979, lasted less than a week. Since then, it has progressively expanded and has moved from one site to another several times to accommodate the growing number of visitors. At its current site in downtown Montreal, in the neighbourhood of the Place des Arts, it now lasts a full twelve days. In 1998, thirty-six concert series and two film series were offered for a total of 411 events. Of these, 103 were paying concerts, and 298 were free concerts held for the most part out of doors. Jazz presented in more than twelve bars all over the city also forms part of the event.From noon to 6 pm, a free outdoor concert is held every hour. From 6 pm to midnight, two more free concerts are performed simultaneously. During the day, street bands give strollers a taste of a wide range of musical styles. For more than twelve hours the public can hear music nonstop by moving from one venue to the other. The downtown site is big enough to avoid the overlapping of music from simultaneous performances. At the end of the afternoon and in the evening, Festival-goers can enjoy the indoor paying concerts.
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Vijayantara Putra, I. Gde Made Pandu, and Putu Sandra Devindriati Kusuma. "Perencanaan Manajemen Seni Pertunjukan Ubud Village Jazz Festival." Journal of Music Science, Technology, and Industry 6, no. 1 (April 30, 2023): 51–63. http://dx.doi.org/10.31091/jomsti.v6i1.2418.

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Purpose: This article aims to find out how to plan the management of performing arts at the Ubud Village Jazz Festival. Management is the main thing in every performing arts performance starting from pre-production to post-production. Method: The method used in this writing is a qualitative method with a descriptive presentation. Data obtained by interviews and literature review, which will then be analyzed through triangulation from raw data collection, selection, processing to drawing conclusions. Results and discussion: The Ubud Village Jazz Festival was made out of concern, where the founder felt that there was a period of jazz music that had been forgotten and caused the loss of the true identity of jazz music. The findings in this article show that management planning is carried out by setting goals, designing budgets, looking for sponsors by looking at previous year's activities, making timelines, deadlines, job descriptions, hiring outsourcing and recruiting volunteers to support the achievement of the goals of UVJF activities. Implication: Good management planning for the Ubud Village Jazz Festival is also a means to educate the public about jazz music, help the economy of the surrounding community in Ubud, and more than that to show the identity of the jazz festival.
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Faria, Erick de Oliveira, Victor Pouillaude, Valentine Crépel, and Manuella Biagioni Barbosa Teixeira. "Tourist Festivals and Territorial Development: a case study on the Jazz in Marciac Festival." Revista de Turismo Contemporâneo 8, no. 1 (April 30, 2020): 1–16. http://dx.doi.org/10.21680/2357-8211.2020v8n1id18098.

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From the year 1982, new possibilities were given to the spatial organization of the French territory. In these spaces, the actions of social groups are recognized. Therefore, the social group builds the territory but the environment in which it lives also influences it. This paper studies the case of the Jazz in Marciac festival as an example of territorial development associated with the dimension of the voluntary commitment of the population towards a common objective and a source of debate. This jazz festival takes place at the village of Gers, Marciac and is guided by the principles of popular education. Today it gives life to its territory through national and international recognition as one of the most recognized jazz festivals. This is why we decided to ask ourselves about the causes of success at the jazz festival in a French village. So the questions came out: what does this imply in terms of development at the scale of its surroundings? Why and how this festival contributed to authentic development to the extent of its territory. The territory of Marciac turned a music festival into a local development opportunity, by its strength for cultural tourism, the valuation of local heritage and the improvement of living conditions. So the festival has become a showcase for local productions and a driving force for regional planning, it improves cultural, social and economic aspects of its territory. Keywords: Jazz Festival. Territory Development. Cultural Tourism. Popular Education.
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Syah, Teuku Giara Gaesaro, and Elda Franzia Jasjfi. "ANALISIS ILUSTRASI BARONG PADA MEDIA PROMOSI JAVA JAZZ 2015." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 1 (April 1, 2017): 63–76. http://dx.doi.org/10.25105/jdd.v2i1.1878.

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AbstractThe development of music industry marked by the increasing number of the music event held nowadays. In terms of music festival that was held every year, the development of updates in social media which help publish those events. One of the biggest event held annually is Java Jazz Festival. Java Jazz Festival 2015 with the theme "Exploring Indonesia" with Barong Bali as it’s icon. Barong used as icon to represent the island of Bali that is full of culture and art. This theme became the purpose of the organizers who wanted to show Indonesian culture to international musicians. This paper explores the promotion media of Java Jazz Festival 2015 which used the barong illustrated in it. The method is visual element analysis. The result is that the Barong illustrated using vector techniques and using contemporary color tones. The successful existence of a brand cannot be separated from the company's success in communicating the culture and values of the company to the members of the organization. AbstrakPerkembangan industri musik saat ini ditandai dengan semakin banyaknya terselenggara acara musik. Ditinjau dari festival musik yang digelar setiap tahunnya, tidak luput dari perkembangan berita terkini di media sosial yang bantu mempublikasikan acara-acara tersebut. Salah satu event terbesar yang digelar setiap tahunnya yaitu Java Jazz Festival. Java Jazz Festival 2015 mengangkat tema “Exploring Indonesia” dengan Barong Bali sebagai ikonnya. Barong dijadikan ikon untuk merepresentasikan pulau Bali yang penuh dengan budaya dan seni. Tema ini menjadi maksud tujuan pihak penyelenggara yang ingin memperlihatkan budaya Indonesia kepada para musisi internasional. Makalah ini membahas media promosi Java Jazz Festival 2015 yaitu ilustrasi barong yang terdapat pada media promosi tersebut. Metode yang digunakan adalah analisis elemen visual. Hasil dari analisis adalah bahwa barong diilustrasikan dengan menggunakan teknik vektor dan menggunakan nada warna yang kekinian. Keberhasilan eksistensi suatu brand atau acara tidak dapat dipisahkan dari keberhasilan perusahaan dalam mengkomunikasikan budaya dan nilai-nilai yang dimiliki perusahaan kepada masyarakat.
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Aulia, Fithrotul, and Yessy Artanti. "Peran Festival Satisfaction sebagai variabel pemediasi pada pengaruh Festival Quality dan Positive Emotion terhadap Festival Loyalty para pengunjung Jazz Traffic Festival di kota Surabaya." Benefit: Jurnal Manajemen dan Bisnis 6, no. 2 (December 14, 2021): 49–71. http://dx.doi.org/10.23917/benefit.v6i2.13932.

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Abstrak - Industri festival musik mengalami perkembangan sejak tahun 2010 hingga kini ditandai dengan banyaknya festival musik yang mulai bermunculan secara rutin dilaksanakan setiap tahunnya atau hanya untuk seremonial tertentu. Penelitian ini bertujuan untuk menganalisis dan membahas pengaruh festival quality dan positive emotion terhadap festival loyalty dengan festival satifaction sebagai variabel mediasi pada pengunjung Jazz Traffic Festival di Jawa Timur. Penelitian ini menggunakan 200 responden dengan teknik non-probability sampling dan metode yang digunakan adalah judgemental sampling. Metode pengumpulan data dilakukan dengan menyebarkan kuesioner secara online. Teknik analisis data yang digunakan dalam penelitian ini adalah teknik analisi jalur (path analysis). Hasil penelitian menemukan bahwa festival quality dan positive emotion berpengaruh positif signifikan terhadap festival loyalty dan festival satisfaction terbukti sebagai varibel mediasi. Hasil penelitian ini menyarankan pihak penyelenggara Jazz Traffic Festival atau promotor festival musik lainnya untuk memperhatikan kualitas layanan festival dan emosi pengunjung yang terbentuk ketika mengunjungi suatu festival musik untuk meningkatkan kepuasan sehingga berdampak pada loyalitas terhadap festival tersebut.
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Дисертації з теми "Jazz-Festival"

1

Bowie, Elizabeth. "The New Orleans Jazz and Heritage Festival and Foundation: the Jazz and Heritage Gallery." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/aa_rpts/99.

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The New Orleans Jazz & Heritage Foundation is a non-profit 501 (c) (3) organization. The Foundation presents the famous New Orleans Jazz & Heritage Festival and utilizes the proceeds from the Festival for year-round community development programs in the areas of education, economic development and culture. The Foundation also owns the broadcast license of radio station WWOZ 90.7. The Foundation is constantly seeking to expand its involvement with the local community. Thus, Mr. Don Marshall, Executive Director of the Foundation, created the Jazz & Heritage Gallery. My internship position was as the first Gallery Director for the newly created Jazz & Heritage Gallery. Throughout the course of my internship I successfully curated three exhibitions: Inspiration Exhibition, Femme Fest 2009, and Outside the Tent. I also managed the various business affairs of the Jazz & Heritage Gallery, including communications with artists and the public, and collaboration with numerous local organizations and seeking grants. This report includes the Foundation and Festival's history, organizational structure, current programming and my contributions to the Foundation. It also includes detailed recommendations based on the SWOT analysis of the Foundation as well as best practices suggestions.
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Morris, Rebecca. "The New Orleans Jazz and Heritage Festival and Foundation." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/115.

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Анотація:
The internship report contains an analysis of The Jazz & Heritage Festival and Foundation as applied to the author's internship with the non-profit organization from January through May 2010. Included are a brief organizational history and a description of the intern's duties as assistant to both the gallery director and development associate. An analysis of the Foundation will be discussed as well as researched best practices for similar festivals, non-profit professionals, and other art organizations. The report will conclude with recommendations for organizational growth and improvement.
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3

Andrews, Lori B. "The New Orleans Jazz and Heritage Festival and Foundation, Inc." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/117.

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This report is the analysis of a three month internship with the Development Department of the New Orleans Jazz & Heritage Festival and Foundation, Inc., This report includes an organizational profile, description of the development department, S.W.O.T. analysis, best practices, and intern recommendations as applied to my experiences with the organization from May 21 to August 10, 2010.
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4

Minocchi, Erika <1994&gt. "Il festival musicale come attrattiva turistica: il caso di Umbria Jazz." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20131.

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Questa tesi di ricerca si prefigge di analizzare l’organizzazione di festival musicali, prendendo come caso studio “Umbria-jazz”, uno dei festival musicali jazzistici più importanti al mondo. Nel primo capitolo si affronta una panoramica storica del genere jazz, seguita da una presentazione sintetica della storia dei festival musicali. Il terzo capitolo tratta la tradizione jazzistica italiana e la nascita di Umbria jazz, come si è sviluppato ed evoluta nel tempo. Il quinto capitolo si concentra sulle metodologie impiegate nella progettazione, organizzazione realizzazione e marketing di questo tipo di eventi, per poi focalizzarsi sul caso studio in esame anche attraverso l’analisi dello specifico piano di marketing utilizzato. Si considera infine la presenza (o l’assenza) di co-branding con la regione Umbria e si conclude la tesi attraverso un’analisi SWOT dell’evento in questione presentando alcune considerazioni atte a migliorarne gli aspetti critici.
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Eales, Alison Caroline. "Bunting and blues : a critical history of Glasgow International Jazz Festival, 1987-2015." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8026/.

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Анотація:
Glasgow International Jazz Festival first took place in 1987 and has run every year since, making it the city's longest-running cultural event. One of the company's stated aims at its inception was to 'establish [Glasgow] as a major European jazz centre' (Williams, 1986b). Through a single, historical case study, the thesis attempts first to ascertain the extent to which this aim has been achieved, and second to determine the enabling and limiting factors acting upon the Festival in its attempts to effect change in its host city. The thesis finds that urban music festivals can, under the right circumstances, contribute to positive and lasting changes to the environment in which they exist. In the case of Glasgow Jazz Festival, this is evident in terms of both the physical infrastructure and educational opportunities which would be unlikely to exist today had the Festival not been their champion. A festival's ability to effect such change, however, can be severely curtailed by fluctuating levels of commitment from local and national authorities.
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Steri, Valeria <1993&gt. "Ai Confini tra Sardegna e Jazz: alla scoperta del festival di Sant’Anna Arresi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17215.

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Il mio lavoro si concentra sull'analisi del festival "Ai Confini tra Sardegna e Jazz", un festival musicale conosciuto a livello internazionale ma che si sviluppa in un piccolo paese di circa 3000 abitanti del sud ovest sardo, chiamato Sant'Anna Arresi. Il Sulcis Iglesiente è la zona più povera di tutta Italia, per questo è interessante studiare come gli organizzatori dell'Associazione Punta Giara siano riusciti a far conoscere il loro progetto a livello internazionale, elevando il programma artistico a livelli musicali qualitativamente alti e accattivanti, riuscendo ad attirare l'attenzione non solo dei sardi che nell'isola ma di un pubblico vasto che proviene da tutta Italia, dall'Europa e oltre. Essendo io stessa parte del pubblico del festival da anni, mi sono sempre chiesta quale fosse la sua storia, quella di Basilio (il direttore artistico) e della sua squadra di collaboratori, ho voluto indagare ogni aspetto del festival dalle origini ai giorni nostri, capire quanto i contributi pubblici influiscano sulle entrate dell’associazione, ho ripreso un'indagine sul pubblico effettuata in passato e ho indagato per capire quale sia l’impatto che il festival ha sul territorio e quali sono le modalità con cui gli organizzatori affronteranno l'edizione del 2020 in vista delle misure di precauzione da prendere a causa del Covid-19.
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7

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

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

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8

Williams, Karen. "Key success factors in managing the visitor experience at the Cape Town International Jazz Festival / Williams K." Thesis, North-West University, 2011. http://hdl.handle.net/10394/7611.

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Анотація:
The event tourism industry is one of the fastest growing tourism industries worldwide. One type of event that is growing immensely is festivals, especially music festivals such as the Cape Town International Jazz Festival. As a result of the fast growing pace of festivals, it has become crucial for a festival to sustain itself in the market place to stay competitive. The Cape Town International Jazz Festival (the Jazz Festival) is a fast growing music festival and hosts numerous well–known local and international jazz artists, as well as young up–and–coming artists. For this exciting Jazz Festival to keep growing, it needs to be sustainable. To achieve this, the organisers and managers of the Jazz Festival need to know what is important to the visitors of the Jazz Festival, so they can fulfil their needs. This in turn leads to satisfied visitors that will return to the Jazz Festival and keep the festival sustainable. Generally speaking, music festivals have a more professional management approach than other tourism events and thus are more likely to be more successful. Key Success Factors (KSFs) are a precondition for the success of any event and will influence the competitiveness of the event in the market place. It is imperative for organisers to identify the KSFs that are important to the visitors so as to provide them with a satisfactory experience. This will also assist in measuring the achievement of the event’s goals and objectives. The main purpose of this study was to determine the KSFs in managing the visitor experience at the Cape Town International Jazz Festival. To reach this goal, the study is divided into two articles. Research for both articles was conducted at the Cape Town International Jazz Festival through distributing 400 questionnaires randomly throughout the two days of the festival, which was held on 3 and 4 April 2010. Article 1 is titled: “Key aspects for efficient and effective management of the Cape Town International Jazz Festival: a visitor’s perspective”. The main purpose of this article was to identify the Key Success Factors in managing the Cape Town International Jazz Festival, to determine what visitors deemed as important when attending the Jazz Festival. A factor analysis was done to achieve this goal. Results indicated that Hospitality Factors, Quality Venues, Information Dissemination, Marketing and Sales, and Value and Quality are the KSFs that are of importance when managing the Jazz Festival. The results of this article provided festival managers with valuable information when organising an event such as the Cape Town International Jazz Festival. Article 2 is titled: “The importance of different Key Success Factors to different target markets of the Cape Town International Jazz Festival based on travel motives”. The main purpose of this article was to determine whether different target markets that are visiting the Jazz Festival, deemed different KSFs as important, depending on their travel motives. An analysis of variance (ANOVA) was done to determine if there were statistically significant differences between the three clusters and the KSFs that they deemed important. Results showed that the three clusters, namely, Escapists, Culture Seekers and Jazz Lovers, deemed different KSFs as important when they are visiting the Jazz Festival. The results of this article gave festival organisers and marketing managers insight as to which markets to focus scarce marketing resources on and which markets to keep growing, as they will sustain the festival in the long term. Therefore, this research revealed the KSFs that are of utmost importance when managing the Cape Town International Jazz Festival, and that these aspects differ for certain markets. Organisers therefore need to assess the KSFs to provide products that will satisfy the visitor in order for him/her to return each year and keep the festival competitive and sustainable.
Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.
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Costa, Carlos Frederico Pedrosa da. "Quando o choro canta e o chorão fala: uma análise das práticas musicais do Choro em Fortaleza." reponame:Repositório Institucional da UFC, 2013. http://www.repositorio.ufc.br/handle/riufc/24243.

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COSTA, Carlos Frederico Pedrosa da. Quando o choro canta e o chorão fala: uma análise das práticas musicais do Choro em Fortaleza. 2013. 105f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2013.
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This research seeks to build a socioanthropological reading about the choro in the city of Fortaleza, performing an ethnographic fieldwork with the practitioners of this musical genre, emphasizing the problematization of the ways in which musicians learn, execute and pass on techniques, repertoires, resources, Fundamentally, social relations. That is, the questions that guide the effort of this research revolve around the types, forms and processes of socio-cultural knowledge mobilized by the universe of these practitioners, from the symbolic conceptions on what is the cry, as their interpretative, sometimes divergent, aspects of the Place that occupies the tradition of choro in Brazilian popular music. I intend to carry out this research exploring the consequences of placing myself before this symbolic universe of the practitioners of choro as a native anthropologist, once being a musician of formation. Thus, ethnographic research will focus on observation and interlocution with my peers, with the universe of which I am also a practitioner.
Esta pesquisa busca construir uma leitura socioantropológica acerca do choro na cidade de Fortaleza, realizando um trabalho de campo etnográfico com os praticantes deste gênero musical, enfatizando a problematização dos modos como os músicos aprendem, executam e repassam técnicas, repertórios, recursos, informações e, fundamentalmente, relações sociais. Ou seja, as questões que orientam o esforço desta pesquisa giram em torno dos tipos, formas e processos de conhecimento sociocultural mobilizados pelo universo destes praticantes, desde as concepções simbólicas sobre o que seja o choro, como suas vertentes interpretativas, por vezes, divergentes do lugar que ocupa a tradição do choro na música popular brasileira. Pretendo realizar esta pesquisa explorando as consequências de me situar diante deste universo simbólico dos praticantes de choro como um antropólogo nativo, uma vez sendo músico de formação. Assim, a pesquisa etnográfica se centrará na observação e interlocução com meus pares, com o universo do qual também sou praticante.
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10

Zabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.

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

1

Festival, Newport Jazz. Newport Jazz Festival. Cosenza: For Discriminate Collector, 1986.

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2

Rosenthall, Ron. Festival international de jazz de Montréal: Portrait d'un festival = portrait of a festival. Montréal: Le Festival, 1999.

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3

Rosenthall, Ron. Festival international de jazz de Montreal: Portrait d'un festival. Montreal: Festival International de Jazz de Montreal, 1999.

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4

Monterey Jazz Festival: Forty legendary years. Santa Monica, Calif: Angel City Press, 1997.

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5

Sabine, Nicole, and Wagner S. T, eds. On stage, backstage: Montreux Jazz Festival. Lausanne: Editions Illustré, 1986.

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6

Huggard, Dennis O. The Alex MacLean jazz festival tapes. 2nd ed. Auckland, N.Z: D. Huggard, 2001.

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7

Hirtler, Christof. Das Jazz Festival Willisau in Bildern. [Willisau, Switzerland: s.n., 1987.

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8

Bert, Jansma, and Acket Paul, eds. North Sea Jazz Festival, 1976-1985. ʼs-Gravenhage: BZZTôH, 1985.

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9

Gatto, Gerlando. Gente di jazz: Interviste e personaggi dentro un festival jazz. Udine: Kappa Vu, 2017.

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10

Stern, Bert, Armstrong Louis, Arnold Perl, and Albert D'Annibale. Jazz on a summer's day. New York: New Yorker Video, 2000.

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Частини книг з теми "Jazz-Festival"

1

Wilber, Bob. "The Nice Jazz Festival." In Music was not Enough, 35–41. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09603-9_5.

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2

Reimann, Heli. "Post-Festival Reviews." In Tallinn '67 Jazz Festival, 132–64. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815295-5.

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3

Reimann, Heli. "Americans at the Festival." In Tallinn '67 Jazz Festival, 94–131. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815295-4.

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4

Reimann, Heli. "Conclusions." In Tallinn '67 Jazz Festival, 165–77. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815295-6.

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5

Reimann, Heli. "Setting the Scene." In Tallinn '67 Jazz Festival, 14–41. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815295-2.

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6

Reimann, Heli. "Individual Memories." In Tallinn '67 Jazz Festival, 42–93. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815295-3.

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7

Reimann, Heli. "Introduction." In Tallinn '67 Jazz Festival, 1–13. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815295-1.

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8

McGee, Kristin. "Gendered Interventions in European Jazz Festival Programming." In The Routledge Companion to Jazz and Gender, 190–204. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003081876-18.

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9

Cloonan, Martin. "Interview with Jill Rodger, Director, Glasgow Jazz Festival." In Made in Scotland, 91–98. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003247470-12.

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10

Curtis, R. "Chapter 17. What is Wangaratta to Jazz? The (Re)creation of Place, Music and Community at the Wangaratta Jazz Festival." In Festival Places, edited by Chris Gibson and John Connell, 280–93. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781845411688-020.

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Тези доповідей конференцій з теми "Jazz-Festival"

1

Hanhart, Philippe, Martin Rerabek, Ivan Ivanov, Alain Dufaux, Caryl Jones, Alexandre Delidais, and Touradj Ebrahimi. "Automatic defect detection in video archives: application to Montreux Jazz Festival digital archives." In SPIE Optical Engineering + Applications, edited by Andrew G. Tescher. SPIE, 2013. http://dx.doi.org/10.1117/12.2026875.

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2

Francesconi, Fabiano, Fabiano Dalpiaz, and John Mylopoulos. "Models for strategic planning: Applying TBIM to the Montreux Jazz Festival case study." In 2015 IEEE 9th International Conference on Research Challenges in Information Science (RCIS). IEEE, 2015. http://dx.doi.org/10.1109/rcis.2015.7128884.

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3

Pawan, Marry Tracy, and Juliana Langgat. "IMPACT OF COVID-19 ON EVENT INDUSTRY: EVENT AUDIENCE READINESS TOWARDS EVENT DIGITIZATION." In GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.056.

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For the event organiser, Sabah is one of the states that becomes a focal point. As Sabah is one of the most popular tourist destinations, several large events such as the Sabah Jazz Festival, Pesta Lepa-lepa, Pesta Kaamatan, Pesta Kalimaran, and other festivals have been held. However, COVID 19’s disruptive impacts have had such a significant impact on the event sector. Most of the events are getting cancelled or postponed all over the world. Over the past several months, a significant number of meetings and conferences have been redesigned as virtual events. However, the event industry needs to know the readiness of the public towards the shifting from the physical to the digital. Therefore, the objective of this research is to determine the event audience readiness for digital events. It is important for the event industry to know the readiness and a good online platform in providing a good service to their audience. A quantitative method was used to conduct this study. The main finding will see how far our communities is ready to adapt the new norm. Based on the finding it shows that event audience are willing to adopt the event digitisation, and this is due to the impact of the COVID 19pandemic which was accelerating changes in event audience behaviour. This research will benefit the event organisers and help them prepare strategic plana to cater to the audience needs.
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4

Fisker, Esben. "Jazz that nobody asked for." In SIGGRAPH Asia 2013 Computer Animation Festival. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2542398.2542464.

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