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Journal articles on the topic 'Festival of Music and the Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Gluck, Robert. "The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran." Leonardo 40, no. 1 (2007): 20–28. http://dx.doi.org/10.1162/leon.2007.40.1.20.

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Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these

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2

RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renow

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BRUCHER, KATHERINE. "Grant Park Music Festival and Music in Chicago's “Front Yard”." Journal of the Society for American Music 14, no. 1 (2020): 10–32. http://dx.doi.org/10.1017/s175219631900052x.

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AbstractChicago's Grant Park Music Festival, a free classical music series, provides a case study for exploring how music festivals contribute to the musical life of cities. Each summer, the Grant Park Music Festival Orchestra and Choir perform dozens of free performances at the Jay Pritzker Pavilion in Millennium Park and in residential neighborhoods. In 1935, James C. Petrillo, head of the Chicago local of the American Federation of Musicians, initiated the festival, then called Grant Park Concerts, to employ musicians during the Great Depression with funds from the federal Works Progress Ad

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Brennan, Matt, Jo Collinson Scott, Angela Connelly, and Gemma Lawrence. "Do music festival communities address environmental sustainability and how? A Scottish case study." Popular Music 38, no. 2 (2019): 252–75. http://dx.doi.org/10.1017/s0261143019000035.

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AbstractThis article discusses the findings of an Arts and Humanities Research Council project researching how music festival communities in Scotland can address issues of environmental sustainability and climate change. It investigates how music festival communities are constructed with a focus on what role, if any, they might play in responding to the global challenge of environmental sustainability. Using music festivals in Scotland as a case study, we employed a variety of research methods to interrogate different constituents in music festival communities about their views and behaviours

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Luonila, Mervi, and Maarit Kinnunen. "Future of the arts festivals: do the views of managers and attendees match?" International Journal of Event and Festival Management 11, no. 1 (2019): 105–26. http://dx.doi.org/10.1108/ijefm-04-2019-0028.

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Purpose To make sense of the relationship between the festival attendance and the aims in arts festival management, the purpose of this paper is to explore the key characteristics for success and analyze the perceptions of the future in arts festival productions. Design/methodology/approach This qualitative study uses interviews with festival managers and empathy-based stories (MEBS) written by members of festival audience. Discourse analysis is employed for answering the questions: What are the characteristics of a successful festival, and what could ruin it? Findings The paper highlights the

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Zhao, Ziqi. "Musical Festival as a Modern Art Project." International Journal of Education and Humanities 17, no. 2 (2024): 186–214. https://doi.org/10.54097/a9xyey21.

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Studying the organization of music festivals is not just an immersion into the world of music, but a comprehensive approach that provides valuable knowledge and skills applicable in different areas of life. Organizing a festival is a large-scale project that requires the ability to plan, coordinate, manage resources (financial, human, technical) and risks. Organizing a festival involves attracting an audience, creating brand awareness of the festival, managing advertising - these are tasks that require deep knowledge of marketing tools. Interaction with artists, volunteers, technical staff, sp

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van Zyl, Cine. "Positioning maps: a conjoint analysis tool for festival or event application." International Journal of Tourism Cities 3, no. 4 (2017): 424–41. http://dx.doi.org/10.1108/ijtc-06-2017-0034.

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Purpose The purpose of this paper is threefold: first, to describe a novel tool (conjoint analysis (CA)) for application by explaining the theory behind it; second, how the tool was developed; and third, how it can be used to ensure an optimal festival/event offering. In this way, the research needed on the individual behavioural and psychological factors of the events-tourism sector are addressed. Design/methodology/approach Planned events in this case the three largest arts festivals in South Africa (SA) (in Potchefstroom – Festival A, Grahamstown – Festival B and Oudtshoorn – Festival C) we

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Moore, Enya, and Bernadette Quinn. "Maintaining Connections during the Pandemic: Rural Arts Festivals and Digital Practices." Tourism and Hospitality 4, no. 4 (2023): 499–513. http://dx.doi.org/10.3390/tourhosp4040031.

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During the COVID lockdowns of 2020/21, the transmission of live or recorded concerts grew exponentially as festival makers embraced digital technologies to a greater degree. Investigating how this digital pivot interrupted festival-making practices is now important given that online and hybrid modes will potentially be used in conjunction with in-person events in the future. This task has relevance for rural areas where digital infrastructures can be under-developed. Yet, place-based, community-organised festivals can play a significant role in sustaining local communities. In this context, we

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Rachmawanti, Ranti. "Digital Kultur: Music and Cultural Festivals Platform of Performing Arts in Digital Era." Tonika: Jurnal Penelitian dan Pengkajian Seni 5, no. 2 (2022): 166–77. http://dx.doi.org/10.37368/tonika.v5i2.448.

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This article discusses the results of research on the development of the Digital Kultur application as a platform for organizing cultural festivals. The purpose of this research is to find out the development indicators that can be used in applications. Digital Kultur is an invention in the form of an application made for organizing various cultural festivals in Indonesia. It is designed to be one of the solutions to address technological challenges in the world of music and performing arts. Digital Kultur has made it easy for participants to compete, perform and express their abilities in mus

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Larasti, Anindya Kenyo. "Environmental Impacts Management of the Coachella Valley Music and Arts Festival." Tourisma: Jurnal Pariwisata 2, no. 2 (2020): 56. http://dx.doi.org/10.22146/gamajts.v2i2.56851.

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The sustainability of music festivals is an urgent issue that must be discussed. Without careful consideration of environmental impacts, the short-term economic gain becomes a long-term fiasco. Coachella, the second-largest music festival in the US and the highest-grossing festival in the world, is possible to harm the environment. It provides pressure by bringing a hundred thousands of people at the same time and place. If the festival damages the environment, it will be costly and taking a long time to preserve the ecosystem. Therefore, it is crucial to assess the management of environmental

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Ayuni, Astari, and Agusti Efi. "MANAJEMEN FESTIVAL SENI PERTUNJUKAN PEKAN NAN TUMPAH DI PROVINSI SUMATERA BARAT." Gorga : Jurnal Seni Rupa 9, no. 1 (2020): 100. http://dx.doi.org/10.24114/gr.v9i1.18100.

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AbstrakPenelitian ini dilatarbelakangi oleh minimnya festival seni di Provinsi Sumatera Barat yang bertahan hingga beberapa kali pelaksaan dalam satu dekade terakhir. Hal ini disebabkan oleh beberapa faktor, diantaranya; tidak adanya manajemen dalam pengelolaan festival, sehingga terkesan terburu-buru dan tidak maksimal dalam pelaksanaanya. Diantara banyak festival seni yang pernah ada, terdapat satu festival seni yang berhasil bertahan hingga saat ini, ialah festival seni Pekan Nan Tumpah. Festival seni Pekan Nan Tumpah adalah festival seni yang diselenggarakan setiap dua tahun sekali oleh Ko

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Gąsiorowska, Małgorzata. "The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies." Musicology Today 14, no. 1 (2017): 22–36. http://dx.doi.org/10.1515/muso-2017-0001.

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Abstract The present paper surveys the history of the Warsaw Autumn festival focusing on changes in the Festival programming. I discuss the circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between programming policies and the current political situation, which in the early years of the Festival forced organisers to maintain balance between Western and Soviet music as well as the music from the so-called “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on the presentation of 20th-century classics

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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals." Canadian Theatre Review 138 (March 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.

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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contempo

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Morgan, Nigel. "Voices: Peninsula Arts Contemporary Music Festival." Computer Music Journal 30, no. 3 (2006): 77. http://dx.doi.org/10.1162/comj.2006.30.3.77.

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Eales, Alison C. "‘One bourbon, one scotch, one beer’: alcohol sponsorship at Glasgow Jazz Festival, 1987–2001." Popular Music 35, no. 2 (2016): 231–44. http://dx.doi.org/10.1017/s0261143016000064.

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AbstractThis article examines the relationship between music and sponsorship by drinks companies. Glasgow Jazz Festival has taken place annually since 1987 and is the city's longest running music festival. In its early years, the Festival enjoyed both cash and in-kind sponsorship from a wide range of organisations, including breweries and distilleries along with companies specialising in non-alcoholic drinks. In 2015 sponsorship was more difficult to secure, with cash sponsorship proving to be particularly elusive. The article focuses on cash sponsorship from drinks companies from 1987 to 2001

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Cripps, Jody, Ely Lyonblum, and Anita Small. "Signed Music in the Deaf Community." Journal of Festive Studies 4, no. 1 (2023): 191–215. http://dx.doi.org/10.33823/jfs.2022.4.1.144.

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In the spring of 2019, the first signed musical stage production was performed at Festival Clin d’Oeil—the world’s largest deaf arts festival that brings thousands to Reims, France, biennially. Surrounded by visual and performing arts, an invited delegation from Canada debuted the musical The Black Drum internationally, incorporating physical theater, signed music, projection, and dance. Signed music is an inter-performance art that demonstrates musical elements by culturally deaf individuals who have explored creating musical performances with their hands and bodies. These performances operat

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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 (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)

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Brown, Sara Black. "A Festival of Chariots: How Music and the Arts Take the Hindu Temple Experience to the Streets." Religions 15, no. 12 (2024): 1456. http://dx.doi.org/10.3390/rel15121456.

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Among the most prominent Hindu festivals is the Rath Yatra, or Festival of Chariots, which is celebrated by parading three brightly decorated chariots containing statues of the deities Jagganath, Subhadra, and Balaram through the streets of a city on brilliantly decorated chariots. Rath Yatra is celebrated throughout India and increasingly throughout the world through such efforts as the Festival of India sponsored by the International Society of Krishna Consciousness (ISKCON), which stops in several prominent locations throughout North America. Within Krishna Consciousness, temple worship is

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Graham-Jones, Jean. "Transnationalizing the National and the International: Buenos Aires' First International Festival of Theatre, Music, and Dance." Theatre Research International 27, no. 1 (2002): 58–67. http://dx.doi.org/10.1017/s0307883302001062.

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In October 1997 the City of Buenos Aires hosted its first International Festival of theatre, music, dance, and the visual arts with performances by groups from Africa, Asia, Europe, and the Americas. Latin American theorists, among them Fernando Ortiz and Angel Rama, who have long considered such a transcultural event not as culturally transcendent but, rather, as culturally transformative, provide a frame for reading the Buenos Aires Festival as a site of transnational and transcultural operations. Particular focus is placed on the Festival's geopolitico-cultural project, constructed out of t

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Reynolds, Peter. "Leuven, Belgium: Transit New Music Festival." Tempo 67, no. 264 (2013): 69–70. http://dx.doi.org/10.1017/s0040298213000090.

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In its unswerving devotion to new music at its most uncompromising, the Flemish Transit Festival represents a model of the kind of festival that has now almost vanished from Britain. Based in the intimate university town of Leuven, the 2012 festival was the thirteenth: 48 hours of music and events concentrated into a weekend, running from Friday night to Sunday (26–28 October). Located mainly in the unprepossessing concrete 1970s STUK arts centre (with surprisingly good acoustics), the 12 events (plus pre-concert talks) followed upon one another with a rapidity that almost negated the opportun

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Rovner, Anton A. "Interview with Composer and Pianist Sergei Oskolkov." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 70–77. http://dx.doi.org/10.56620/2782-3598.2022.3.070-077.

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In this interview the famous St. Petersburg-based composer and pianist Sergei Oskolkov tells about his music, his biography and about the festival for the arts “Sergei Oskolkov and his Friends” of which he is the artistic director. The musician presents a characterization of the main stylistic parameters of his music and how there are manifested in certain particular musical compositions of his written in the genres of opera, orchestral, chamber, piano and incidental music for the theater. He describes the festival for the arts directed by him, which has been organized for the last 25 years in

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Kill, Rebekka. "Art at the Music Festival: Blueprints and the Chronotope." Journal of Communication Inquiry 42, no. 3 (2018): 306–12. http://dx.doi.org/10.1177/0196859918776507.

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The events, festivals, and happenings of the late 1960s, especially those in the West coast areas of the United States, were predominantly music focused. During this period, and alongside these events, new types and modes of visual art, fashion, and graphic design emerged that were subsequently shared worldwide and are very familiar to us now. It can be argued that events such as the Monterey Pop Festival and Woodstock were progenitive and created the hippy style. If we look at the photographs, films, and posters from these events, there is little evidence of these new modes of practice. Very

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Deschênes, Bruno. "The Montreal International Jazz Festival." Popular Music 19, no. 2 (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 curr

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Lentz, Carola, and Trevor Wiggins. "‘Kakube has come to stay’: the making of a cultural festival in Northern Ghana, 1989–2015." Africa 87, no. 1 (2017): 180–210. http://dx.doi.org/10.1017/s0001972016000759.

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AbstractIn Ghana, cultural festivals, usually initiated and organized by the chiefs, provide public arenas where local and regional political elites voice demands vis-à-vis central government, and where national politicians canvass for support. Festivals offer commercial opportunities, forums to promote ‘development’, and occasions for entertainment. Yet advocating for ‘our own culture’ stands out as their very raison d’être, offering a frame for cultural entrepreneurs to organize performances that express and reconfigure local styles of music and dance to fit national formats. In this article

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Benitez, Kristina, Frena Bloomfield, and Leong Mo-ling. "The 7th Festival of Asian Arts." Ethnomusicology 29, no. 1 (1985): 121. http://dx.doi.org/10.2307/852332.

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CHUSNAINI, AZMIL CHUSNAINI, and REIZANO AMRI RASYID. "Effect Of Sponsorship Suitability On Music Festival Events." Accounting and Management Journal 7, no. 1 (2023): 51–56. http://dx.doi.org/10.33086/amj.v7i1.4088.

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Sponsorship is the most important element in marketing communications for every type of company and organization among other types of marketing communications. Currently Sponsorship is believed to be one of the most powerful media used to link stakeholder relations communications to the target market. Sponsorship in the arts, especially music festivals, is one of the sponsorships that is more considered and can be used as a media promotion by many product brands because music is an industry that is highly developed and in great demand by the people of Indonesia. Therefore, this research is foc

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Wallace, Elizabeth Mitchell. "A History of the “Festival of the Arts” at Southwest Virginia Community College (1995–2018): Community Service through Music." Journal of Historical Research in Music Education 42, no. 1 (2019): 71–87. http://dx.doi.org/10.1177/1536600619864703.

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The purpose of this article is to describe the development, mission, and events of the Festival of the Arts at Southwest Virginia Community College (1995–2018) with special emphasis on community involvement and community enrichment. The festival serves as a tool in fulfilling the cultural enrichment mission and community service function of the college. Southwest Virginia Community College (SWCC) is a rural community college located in Richlands, VA, with a service area of more than 1,800 square miles, and a service area population of approximately 107,000 people. SWCC acts as the cultural cen

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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 (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 found

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Maksimova, S. "Let the music sound from heart to heart." Journal of Pedagogical Studies 9, no. 1 (2024): 3–15. http://dx.doi.org/10.12737/2500-3305-2024-9-1-3-15.

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The article describes the practical experience of the children's creativity festival "Dialogue of Arts", organized as part of the innovative activities of the Federal State Budgetary Educational Institution "Institute of Art Education and Cultural Studies of the Russian Academy of Sciences". The starting point of the festival was the method of the innovative teacher E.Ya. Smelova "making music for everyone", who developed a musical instrument to introduce children to collaborative creativity, to reveal the creative potential of each child. Within the framework of the festival, the interaction

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Gustina, Susi, Farhan Reza Paz, and Zakarias S. Soeteja. "Representation of Local Styles in Cingcangkeling Performance at the International Choir Festival as a Reflection of Sunda Cultural Identity." Harmonia: Journal of Arts Research and Education 23, no. 1 (2023): 91–104. http://dx.doi.org/10.15294/harmonia.v23i1.40029.

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This research was conducted to figure out the representation of local styles in Cingcangkeling performance at the international choir festival as a reflection of cultural identity. There are several studies on folksong, but generally, they only focus on music analysis; and do not explain the representation of local styles in folksong performances at the international choir festival. This research aims to figure out: a) the local style representation in the Cingcangkeling performance at international choir festivals; b ) the relationship between local styles represented in the Cingcangkeling pe

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Noble, Andrew. "Ultraschall Berlin, Festival für neue Musik, 2014." Tempo 68, no. 269 (2014): 76–78. http://dx.doi.org/10.1017/s004029821400014x.

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Ultraschall, jointly presented by Deutschlandradio Kultur and Kulturradio vom RBB (Rundfunk Berlin-Brandenburg), and this year officially renamed Ultraschall Berlin, has been a fixture of the city's concert life since 1999. Festival directors Rainer Pöllmann (Deutschlandradio Kultur) and Andreas Göbel (replacing Margarete Zander for Kulturradio vom RBB) chose to emphasise the two major broadcasters' partnership this year with what they called a ‘duo idea’ running through the festival's programme. Illustrating this theme, orchestral concerts (a pair) opened and closed the festival, the project

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Kasule, Sam. "Public Art, Dance, and Music and the Politics of Culture in East and Central Africa." African Performance Review 14, no. 1&2 (2025): 45–57. https://doi.org/10.30817/01412.apr0197.

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The interview that follows took place on Microsoft Teams on 22 May 2022. I have edited the transcript for length and readability. I asked Faisal Kiwewa to talk in some detail about the origin of the Bayimba International Festival of the Arts, its organisation and networks. I also invited him to discuss the Festival’s continuing impact on participating artists and audiences as well as its influence on the creative arts. He noted the changed landscape for the independent artists; the creative industry’s trend away from individual artist or small performing group productions powerfully limits the

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Lewis, Ralph. "Missouri Experimental Sonic Arts Festival (MOXsonic)." Computer Music Journal 44, no. 1 (2020): 89–91. http://dx.doi.org/10.1162/comj_r_00556.

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McMichael, Anna. "Activating a music festival: Extending musical practices by composing with communities." International Journal of Community Music 16, no. 1 (2023): 95–111. http://dx.doi.org/10.1386/ijcm_00077_1.

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This article explores the motivations, approaches and results that occurred when six composers/musicians devised works of experimental music that involved community participants over six years at the annual classical Tyalgum Music Festival in regional Australia. The main aim of this study was to investigate how this music was shaped by community participation in its creation and performance. This qualitative research study drew on retrospective interviews with the musicians involved and the author’s observations and reflections on their music events. The musicians discussed how they responded

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Davida, Dena, Sandeep Bhagwat, and Tawny Andersen. "Navigating the Intricacies of Curatorial Identities." TURBA 3, no. 2 (2024): v—x. https://doi.org/10.3167/turba.2024.030201.

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For this sixth issue, TURBA has assembled thirteen narratives and conversations from multiple generations of institutional and independent curators, festival makers, artist-curators, art historians, dramaturg-curators, arts educators, and researchers. Various forms of dance, music, theater, circus arts, conceptual art and performance art are represented in this collection.

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Ledger, Kate. "Electric Spring, Huddersfield, 22–26 February 2017." Tempo 71, no. 281 (2017): 93–95. http://dx.doi.org/10.1017/s0040298217000377.

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In the heart of the University of Huddersfield's Creative Arts Building sits the unassuming Phipps Hall, which has given itself over to five days of total electronic sound immersion. The University has grown accustomed to attracting pioneering artists in contemporary music over the last four decades, both to its in-house research centre CeReNeM, and to the Huddersfield Contemporary Music Festival every November. The relatively younger Electric Spring Festival takes place every February and is now able to stand alongside its older sibling, offering the public an impressive and diverse programme

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Kurniawan, Bagus Ananda, and Chusnul Abady. "Implementasi Kebijakan Pemerintah Kabupaten Sumenep Dalam Rangka Pengembangan dan Pelestarian Kesenian Musik Tradisional Tong - Tong." Kanal: Jurnal Ilmu Komunikasi 8, no. 1 (2019): 36–41. http://dx.doi.org/10.21070/kanal.v8i1.151.

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This qualitative descriptive research method is to describe and discuss a policy of the Sumenep Regency Government to implement the Sumenep Regency Government Policy in the Context of the Development and Preservation of Traditional Music Art of Tong-Tong Madura Island, East Java Province. At the beginning of the development of traditional Tong-Tong art music which was used as a sahur patrol music was played in waking people to perform the sahur worship in the holy month of Ramadan and Calling the Dwarf who wanted to go home to his cage. In accordance with the Sumenep Regent's Regulation No. 28

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Pasler, Jann. "Music and African Diplomacy at the Festival Mondial des Arts Nègres, Dakar, 1966." Diplomatica 3, no. 2 (2021): 302–34. http://dx.doi.org/10.1163/25891774-03020004.

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Abstract To celebrate independence from France and promote better understanding between “continents, races, and cultures,” in 1966 Senegal produced the World Festival of Negro Arts. Forty-five nations participated. At its core were diplomatic goals involving music. Not only could music help Africans recover their pre-colonial heritage, it encouraged dialogue among cultures and cultural development fueling liberation from the colonial past. Listening for what was shared, as in jazz, and cooperating internationally, as in the Gorée spectacle and recordings competition, encouraged mutual understa

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Zanetti, Mary. "Mathematical Lens: Woodstock Revisited." Mathematics Teacher 103, no. 4 (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, no. 4 (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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Griffin, Christine, Andrew Bengry-Howell, Sarah Riley, Yvette Morey, and Isabelle Szmigin. "‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties." Journal of Consumer Culture 18, no. 4 (2016): 477–96. http://dx.doi.org/10.1177/1469540516684187.

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In this article, we explore the notion of freedom as a form of governance within contemporary consumer culture in a sphere where ‘freedom’ appears as a key component: outdoor music-based leisure events, notably music festivals and free parties. ‘Freedom’ is commodified as central to the marketing of many music festivals, which now form a highly commercialised sector of the UK leisure industry, subject to various regulatory restrictions. Free parties, in contrast, are unlicensed, mostly illegal and far less commercialised leisure spaces. We present data from two related studies to investigate h

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Ward-Griffin, Danielle. "Theme Park Britten: Staging the English Village at the Aldeburgh Festival." Cambridge Opera Journal 27, no. 1 (2015): 63–95. http://dx.doi.org/10.1017/s0954586714000159.

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AbstractJournalists and scholars have long observed how Aldeburgh seems to function as a larger stage for Benjamin Britten’s village-themed operas. Not only is it the explicit setting forPeter Grimes, but it also serves as the site for the annual Aldeburgh Festival of Music and the Arts, founded by Britten in 1948. This article examines how the Festival served as a parallel construction of the village life seen in Britten’s early operas, particularlyAlbert Herring(1947) andLittle Sweep(1949). Analysing materials from the initial years of the Festival – including programme books and accounts of

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Dennen, James. "On Reception of Improvised Music." TDR/The Drama Review 53, no. 4 (2009): 137–49. http://dx.doi.org/10.1162/dram.2009.53.4.137.

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Does the concept of improvisation have any meaning when a piece is recorded and experienced at another time and place? Dennen revisits John Coltrane's “My Favorite Things” from the 1963 Newport Jazz Festival to consider a theory of the reception of improvised music.

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kaneko, Nana. "Reconstituting Communities: Localized Folk Performing Arts and Matsuri Festivals in Post-3.11 Japan." International Journal of Sustainable Future for Human Security 7, no. 3 (2021): 2–11. http://dx.doi.org/10.24910/jsustain/7.3/211.

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Based on two years of ethnographic fieldwork primarily in Sendai, Japan, this paper focuses on matsuri festivals and folk performing arts, which have been documented as one of the earliest musical activities to reemerge in coastal areas of Tohoku, Japan following 3.11 because of their deep rooted history and regional distinctions. This paper presents the ways in which these cultural properties are being supported by government organizations such as the Agency for Cultural Affairs, as well as individual scholars and researchers of Tohoku’s folk performing arts. While localized folk performing a

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Pérez-Ordóñez, Cristina, Andrea Castro-Martínez, and Eduardo Villena Alarcón. "La gestión de las relaciones con los públicos en los festivales de música durante la pandemia. El caso de Bilbao BBK Live / The management of the relationships with music festivals publics during the pandemic. The case of Bilbao BBK Live." Revista Internacional de Relaciones Públicas 11, no. 21 (2021): 121–44. http://dx.doi.org/10.5783/revrrpp.v11i21.706.

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La crisis sanitaria y económica provocada por el coronavirus ha afectado a la totalidad de la población y de las empresas e instituciones, siendo la cultura uno de los sectores en los que esta pandemia está teniendo más impacto, en especial en las artes escénicas y en la música, sobre todo, en directo. En este artículo se ofrece un análisis de cómo la gestión de las relaciones con los públicos puede mejorar la reputación y las perspectivas de supervivencia del Bilbao BBK Live, un festival de música moderna que ha visto cómo su actividad empresarial ha quedado casi totalmente paralizada. A trav

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Mika, Bogumila. "'Beneath the shadow of politics': Reception of the music of Edison Denisov in Poland." New Sound, no. 49 (2017): 139–51. http://dx.doi.org/10.5937/newso1749139m.

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The music of Russian composer Edison Denisov was frequently presented in the Warsaw Autumn festival. Between 1964 and 2005, Polish audiences heard his pieces 21 times, including three world premieres. This music was widely received, especially in the 1960s and the 1970s, when Polish culture was strongly influenced by politics. The following decades brought changes in the context of politics and style in the arts, but Denisov's compositions continued to be performed in Warsaw. The aim of this paper is to present the opinions formulated by Polish music critics as evidence about the reception of

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Tohmo, Timo. "Economic Impacts of Cultural Events on Local Economies: An Input—Output Analysis of the Kaustinen Folk Music Festival." Tourism Economics 11, no. 3 (2005): 431–51. http://dx.doi.org/10.5367/000000005774352980.

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This paper examines the economic impacts of Finland's Kaustinen Folk Music Festival. The impacts are calculated on output, demand and wages, employment and on national and regional taxes. The results indicate, first, that the effects of the festival on output are about ₠1.7 million. Kaustinen can also be seen as a good investment for the local municipality, as regional tax revenues increased by about ₠65,600 in the year studied, while the annual subsidy was ₠40,365. From the perspective of the Keski-Pohjanmaa region as a whole, the Kaustinen Folk Music Festival has a substantial impact on regi

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Wirata, I. Nengah, and Made Chossya Wira Mahardika. "Representation of Local Cultural Wisdom in the Kuta Beach Mini Festival in the Kuta Badung Traditional Village." Jurnal Bali Membangun Bali 6, no. 1 (2025): 58–66. https://doi.org/10.51172/jbmb.v6i1.427.

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Purpose: This article aims to revive local cultural wisdom in the Kuta Traditional Village which has been eroded by the influence of globalization Research methods: This research uses an interpretive qualitative approach by collecting data through field observations, interviews and literature reviews Results and discussion: The Kuta Beach Mini Festival is able to create a space for the people of Kuta Badung Traditional Village to strengthen their sense of cultural identity, through dance, music, fine arts and various traditional activities and revive cultural elements that are in danger of bei

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Shahnaz Mohd Baldev Shah and Khairul Anuar Samsuddin. "Rhythms of Kinabalu 2022 “Coming Back Stronger”: A Review." Wacana Seni Journal of Arts Discourse 23 (September 30, 2024): 90–101. http://dx.doi.org/10.21315/ws2024.23.7.

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This article reviews the Rhythms of Kinabalu 2022 from the dual perspective of management and performance. Ever since its commencement in 2011, Rhythms of Kinabalu has been a yearly large-scale event organised by the National Department for Culture and Arts under the Ministry of Tourism, Arts and Culture Malaysia along with other collaborative bodies. The aim of this festival is to showcase the diversity and uniqueness of the dances, arts, and music in Sabah for the purpose of their continued popularity, relevance, and sustainability. As such, the review examines the current nature of festival

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Walidaini, Birul, Suminto A. Sayuti, and AM Susilo Pradoko. "The Patterns of Music Learning in Phenomena of Valerio International Guitar Festival." Harmonia: Journal of Arts Research and Education 22, no. 1 (2022): 91–102. http://dx.doi.org/10.15294/harmonia.v22i1.35775.

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This study aims to reveal the finalists’ learning patterns and outcomes at the 2018 Valerio International Guitar Festival. It is qualitative research with the phenomenological approach. It was conducted in the final round of the open category of the 2018 Valerio International Guitar Festival. The informants in this study include the finalists, judges, and organizers. The data were obtained through observation, interviews, and documentation studies. The research findings show that the music learning process among the finalists of the 2018 Valerio International Guitar Festival is carried out thr

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