Relevant bibliographies by topics / Jazz à Vienne (Music festival)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jazz à Vienne (Music festival)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Jazz à Vienne (Music festival)"

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Bruckner-Haring, Christa. "The Development of the Austrian Jazz Scene and Its Identity 1960-1980." European Journal of Musicology 16, no. 1 (2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5784.

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In Austria, a country steeped in music history and famous for composers such as Mozart, Haydn, and Bruckner, jazz was quick to earn a place in the cultural landscape. After World War II, important jazz scenes rapidly evolved in Vienna and Graz and, particularly from the 1960s onwards, grew into a strong and independent national jazz scene. Its musicians and ensembles focussed on developing their own characteristics and styles. This article examines primary aspects of the jazz scene during these formative years, such as the series of amateur jazz festivals held in the 1960s, Friedrich Gulda's c
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Christiani, Jessica. "Perspektif Bisnis Dalam Prambanan Jazz Festival Yogyakarta." PROMUSIKA 10, no. 2 (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 meningka
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Puspita, Nungky. "DEVELOPMENT STRATEGY OF MUSIC TOURISM : UBUD VILLAGE JAZZ FESTIVAL AS COMMUNITY-BASED EVENT IN UBUD, BALI." Journal of Tourism Destination and Attraction 9, no. 1 (2021): 27–36. http://dx.doi.org/10.35814/tourism.v8i2.1886.

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Music Tourism is the specialization interest in tourism and this tourism increasing the tourist enthusiasm and attraction. This study describe the Ubud Village Jazz Festival which is the one of the International Music festival that held on Ubud, Bali and also the community-based international music festival . For the analysis, this study use SWOT analyses to make the strategy and the recommendation and also use Elements of Jazz Music Festival theory according to Racapong Khaiewpan. This study use the data from observation and literature study. This research focuses on music tourism attractions
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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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STORHOFF, TIMOTHY. "Music, Politics, and the Liminality of the Havana Jazz Plaza Festival in the Obama Era." Journal of the Society for American Music 14, no. 1 (2020): 70–91. http://dx.doi.org/10.1017/s1752196319000555.

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AbstractAfter the Obama administration (2009–17) began authorizing musical exchanges with Cuba in 2009, Havana's music festivals became a primary site for transnational interactions and a public face for US-Cuban engagement while politicians worked towards normalization in secret. This article uses field research from the Havana International Jazz Festival, interviews with festival participants, and media coverage to explore Cuban music festivals as politically liminal spaces where musical and political life commingled to reflect the changing US-Cuban relationship. While diverse lineups attrac
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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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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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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 (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
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Aryo, Aryo Sanjaya. "The Stereotype with Jazz Music from slavery Music to Elitist Music (1959-1988)." PERIODE: Jurnal Sejarah dan Pendidikan Sejarah 5, no. 2 (2023): 93–110. https://doi.org/10.21009/periode.052.2.

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Abstract: This study aims to describe the development of Jazz music in Indonesia and the existence of Jazz music in Indonesia from 1959 to 1988. The research method used is historical research method whose steps consist of gathering sources (heuristics), source criticism (verification), interpretation (interpretation), and writing (historiography). In the first stage the writer collects primary sources in the form of newspapers, magazines and historical actors, as well as secondary sources such as books and journals. After the data is collected, it is then verified externally and internally. N
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Ajduk, Marija, Ljubica Milosavljevic, and Ana Banic-Grubisic. "Music festivals as a space for construction of local identities on the example of the manifestation jazz in the garden." Muzikologija, no. 35 (2023): 37–52. http://dx.doi.org/10.2298/muz2335037a.

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Based on the several decades-old tradition of presenting jazz through festivals firstly in Yugoslavia, and consequently in Serbia, the Jazz in the Garden manifestation was founded in Belgrade in 2021. The name of the new festival apostrophises the location of the event - ?Jevremovac? Botanical Garden. With the anthropological analysis of this manifestation, we will strive to demonstrate how the manifestation in development like this one influences the construction process of one part of Belgrade?s identity through its connections with the local jazz scene. We will also consider the influence o
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Dissertations / Theses on the topic "Jazz à Vienne (Music festival)"

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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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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
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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,
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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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<p>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 Ja
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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.<br>Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-07-12T15:16:03Z No. of bitstreams: 1 2013_dis_cfpcosta.pdf: 1690023 bytes, checksum: e9f576c41771e0bc748cf162b6c5ca74 (MD5)<br>Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-07-25T13:54:36Z (GMT) No. of bitstreams: 1 2013_dis_cfpcos
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Lin, Yu-hsuan, and 林雨萱. "Jazz On The Corner~Festival Space Representation By Music Intervention." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/05106567780263993946.

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碩士<br>靜宜大學<br>觀光事業學系研究所<br>98<br>“Los sanfermines”, “Venice Carnival” and “Munich Oktoberfest”, such the words remind people thinking of Span, Italy and Germany. The City event has become the important element. It outstands the charactersitics of the city and expresses its image. These city events are usually taken place in a abstract space of the city, gathering people and businesses. Crang（2003）illustrated that the space is not a culture vessel, but constructed by the path, people and culture. Since Taichung city has held Taichung Jazz Festival for six years in Taiwan, it relats the space wh
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Tsai, Yi Ni, and 蔡宜倪. "An Investigation into the Relationship between Destination Image and Music Festival －A Case Study of 2010 Taichung Jazz Festival." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/28589216851902441528.

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碩士<br>國立臺北教育大學<br>文化創意產業經營學系<br>99<br>Increasingly, many cities are involving festival activities as urban development policy. This is done to reduce uncertainty and identity crisis, which is caused by globalization. Because people believe festival activities through city in new image of culture and economic benefits, all represent potential sources of competitive advantage. However, when the world cities are competing for large-scale events, what kind of value the current government should be lead？To answer this question, this study framework of the destination image as the theoretical backgr
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Rodrigues, Carla Sofia Lopes. "Paradigmas da Identidade e da Comunicação Visual do Festival Jazz em Agosto." Master's thesis, 2016. http://hdl.handle.net/10437/8372.

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Orientação: Teresa Mendes Flores; co-orientação: Rui Matoso<br>O Jazz é marcado tanto pelo cruzamento entre a cultura erudita e a popular como pela improvisação e mistura de ritmos. A evolução deste estilo musical torna-se importante devido à divulgação mundial e à fusão com outros estilos como o rock, o funk e o pop, permitindo o surgimento de novas tendências musicais. Esta manifestação artístico-musical torna-se preponderante na evolução da música, como no aparecimento de novos músicos e compositores. Surge assim a necessidade de promover e divulgar a música e os artistas envolvidos n
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Oliphant, Katlego Bridget. "Profiling of attendees at a hallmark event." Thesis, 2012. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000653.

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Thesis (M.Tech: Tourism and Hospitality Management)--Tshwane University of Technology, 2012.<br>Looks at the nature of jazz festival tourists in South Africa, their motivations, behavioural intentions and how attendees can be effectively segmented in order to guarantee visitor satisfaction and loyalty.
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Books on the topic "Jazz à Vienne (Music festival)"

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1946-, Boutellier Jean-Paul, ed. Histoires d'affiches à Jazz à Vienne. Editions lyonnaises d'art et d'histoire, 2011.

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Robert, Arnaud. 50 summers of music: Montreux jazz festival. Textuel, 2016.

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Sad, Serbia) Novosadski jazz festival (10th 2008 Novi. Novosadski jazz festival: 12-15. novembar 2008. Kulturni centar Novog Sada, 2008.

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(Seine-Saint-Denis, France) Banlieues Bleues. Banlieues Bleues: Jazz en Seine-Saint-Denis : 22ème festival du 11 mars au 16 avril 2005. [s.n.], 2005.

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International Jazz Festival (2nd 2007 Jerusalem). Fesṭival ha-g'az ha-benleʼumi bi-Yerushalayim: Jerusalem Jazz Festival 2007, 19-22.6. Tsolelet tsehubah, 2007.

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Wnuk, Witold. Jazz w Piwnicy pod Baranami: 25 lat Letniego Festiwalu Jazzowego/Summer Jazz Festival Kraków. Polskie Wydawnictwo Muzyczne, 2020.

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Israel) Minhelet ha-tayarut ha-Yam ha-Adom (Elat. פסטיבל הג׳אז הבינלאומי: Elat 27-30 be-Ogusṭ 2007 = 21st Red Sea Jazz festival. Minhelet ha-tayarut ha-Yam ha-Adom, 2007.

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P, Smith Michael. Jazz fest memories. Pelican Pub. Co., 1997.

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Théry, Bruno, and Philippe Barrier. Avaulxjazz kollection: Petit traité d'art contemporain. Éditions lyonnaises d'art et d'histoire, 2012.

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1954-, Di Meola Al, Lagrène Biréli 1966-, Super Guitar Trio (Musical group), Montreux Sounds, and Eagle Eye Media (Firm), eds. Super Guitar Trio: Live at Montreux 1989. Eagle Eye Media, 2007.

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Book chapters on the topic "Jazz à Vienne (Music festival)"

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

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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. Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781845411688-020.

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Uhde, Folkert, and Hans-Joachim Gögl. "16. Strategies of Proximity." In Classical Music Futures. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.16.

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Since 2015, the two authors have been developing exceptional event concepts for, among others, the Montforter Zwischentöne festival, which they founded in Feldkirch, Austria, in the state of Vorarlberg. While it is clear that classical, new, improvised music and jazz invariably play a role at this festival with relatively traditional concert formats, there are moments when such forms of music are not the main focal point but support the exploration of other themes. Music may provide the impetus for dealing with a particular social or political issue, but it can also provide a resonating space
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Piekut, Benjamin. "Black Music’s Institutional Critique." In New Music and Institutional Critique. Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_6.

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AbstractTo consider institutional critique within the music field requires some alteration of its fundamental terms, because music had developed a second aesthetic system surrounding Black art and had institutionalised it much earlier than modern or contemporary art had. This de-universalisation of the European fine arts has consequences for the theory of critique. Black music’s governing institutions in the 1960s were the recording label, the night club, the summer festival, and the mass periodical, and artists such as Charles Mingus, Bill Dixon, Rahsaan Roland Kirk, Ornette Coleman, Don Cher
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Waksman, Steve. "Crowds, Chaos, and Community." In Live Music in America. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0008.

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Music festivals mattered to the larger development of American live music along multiple fronts in the two decades following the founding of the Newport Jazz Festival. Most saliently, festivals helped to push the business of live music more and more toward large-scale production, laying the groundwork for the arena and stadium rock economy. Because they so often had an aura of idealism surrounding them, however, music festivals could never be reduced to strictly commercial ventures. The combination of scale and singularity gave festivals the aura they would come to possess and made them flash
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Storhoff, Timothy P. "Jazz as Intercultural Dialogue at the Havana Jazz Plaza Festival." In Harmony and Normalization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0004.

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Chapter Four consists of an in-depth analysis of jazz in US-Cuban musical exchange along with an ethnographic description of Havana’s International Jazz Plaza Festival. Cuba’s relationship to jazz became complicated after the revolution. Performers on the island had to carefully negotiate their desire to play jazz with the Castro government’s descriptions of jazz as imperialist music. The 2012 Havana Jazz Plaza Festival and the US musicians who played at the event are analyzed in-depth to show how participants navigated US-Cuban relations to perform in a festival that uses jazz as a form of in
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Johnson, David W., and Frank Matheis. "Folk Festivals." In The Life and Music of Booker "Bukka" White. University Press of Mississippi, 2024. https://doi.org/10.14325/mississippi/9781496817518.003.0022.

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Folk festivals were popular in the 1960s and 1970s. Booker performed at both the Memphis Country Blues Festival and River City Blues Festival. Staged at Overton Park in Memphis, the Country Blues Festival ran from 1966 to 1969, and the River City Festival began in 1971. In 1973, B. B. King joined Booker on stage at the New Orleans Jazz &amp; Heritage Festival.
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Marlow, Eugene. "Beijing’s Leading Indigenous and Expat Jazz Musicians." In Jazz in China. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0014.

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This chapter focuses on jazz musicians in Beijing. While Shanghai owned China's jazz history spotlight in the first half of the twentieth century, Beijing is not without its own indigenous leading lights, musically speaking. Some have been trained in classical music in China and in the United States and have returned to Beijing to perform; others are self-taught. Many are young; some have been around before and after Mao. All are devoted to the music. In Beijing, saxophonist Fan Shengqi is by all accounts the most enduring jazz musician who performed before, during and after Mao. His involveme
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Didry, Nico. "Cas 2. Comprendre les interactions sociales et émotionnelles lors d’un festival : le cas du festival Jazz à Vienne." In Innovation et marketing de la culture et du tourisme. EMS Editions, 2022. http://dx.doi.org/10.3917/ems.bourg.2022.01.0034.

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Tan-Tangbau, Stan BH, and Quyền Văn Minh. "Birth ’99." In Playing Jazz in Socialist Vietnam. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496836335.003.0011.

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Quyền Văn Minh released his first two solo jazz albums consisting of original compositions in 2000 and 2001. With this repertoire of original compositions, Minh brought his brand of Vietnamese jazz to Singapore for a nine-day performance tour sponsored by Philip Morris Group with official endorsement by relevant Vietnamese government agencies. In the following years, Minh participated in several key jazz festivals in Asia, presenting a mix of original compositions and standard jazz tunes. From 2001 to 2003, Minh was a key participant in the European Jazz Festival in Vietnam series held in Hà N
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Conference papers on the topic "Jazz à Vienne (Music festival)"

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Radovanović, Bojana. "Social and Cultural Engagement of Dragutin Gostuški." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.381r.

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Even before he gradually faded out his compositional and scientific activities in the 1960s and the beginning of the 1970s, Dr Dragutin Gostuški, composer, musicologist, music critic, and an important figure of Serbian and Yugoslav culture in general, was very active in different cultural and social activities of the broadest spectrum. His interest in music and aesthetics, as well as his position as a social commentator and a favourite intellectual, which he built over the years, went hand in hand with participating in different local and international professional bodies, commissions, and boa
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