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

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

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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Bakić, Sonja, Jaime Cuenca, and Macarena Cuenca-Amigo. "Measuring the Audience Experience at the Jazzaldia Festival, San Sebastian, Spain." . Event Management 27, no. 2 (2023): 163–81. https://doi.org/10.3727/152599521X16367300695762.

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Audience research in the cultural sector has been increasingly gaining the attention of researchers and practitioners. This paper explores audience experience as an interactive co-created process between audiences and the program offer in the jazz festival context. As a result of this interaction, each such experience is unique, and the perceived value differs from one to the other. Inspired by previous research on audience experience in the field of theatre performances and musicals, we applied the Art Audience Experience Index to the context of jazz festivals, in this case, a well-establishe

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Marga, Karyasih. "Public Space, Community, and Enjoyment in Music Festival: The experiences of 2019 Jazz Traffic Festival audience in Surabaya." Jurnal Media dan Komunikasi 2, no. 1 (2021): 28. http://dx.doi.org/10.20473/medkom.v2i1.29358.

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This research focuses on the visitors' experience of the Jazz Traffic Festival (JTF) 2019 in Surabaya. This research then aims to know how the experience gained by the visitors in JTF with the genre expansion was incorporated despite its title as Jazz music Performances. This research uses case study method and descriptive-qualitative approach. The data in this research is obtained by observation and independent-interviews with four informants as visitors of JTF. The results of this study showed that each JTF visitors have a different experience due to the preference and purpose of attending t

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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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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 (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 pop

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Gottschalk, Kurt. "Borealis Festival, Bergen." Tempo 70, no. 278 (2016): 92–94. http://dx.doi.org/10.1017/s0040298216000450.

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It wouldn't be the worst idea if Anthony Braxton's Composition No. 58 were used to kick off every music festival. In any event, it's hard to think of a fanfare more fitting for the common fan, whether of classical, jazz or experimental rock. It could, for example, quite easily be followed by a piece of Mauricio Kagel's instrumental theatre or a parade by the Sun Ra Arkestra or the precisely played experimental excursions of the Brooklyn avant-rock outfit Zs.

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Golemo, Karolina. "Exploring and emphasising women’s voices at Sacrum Profanum festival in Krakow." Muzikologija, no. 35 (2023): 19–35. http://dx.doi.org/10.2298/muz2335019g.

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Sacrum Profanum festival stands as one of the prominent musical events in Krakow. The festival is recognised for its unique fusion of contemporary classical music with electronic sounds, jazz and other genres. Alongside its artistic and musical endeavours, the Sacrum Profanum festival remains dedicated to social issues, meticulously promoting gender balance in its lineup, and constantly contributing to the social debate about gender equality in the cultural sector in Poland. The main aim of this article is to analyse the presence of women during the 2020 edition of the festival, with special f

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Bakić, Sonja, Macarena Cuenca-Amigo, and Jaime Cuenca. "Exploring the jazz festival experience amongst local and non-local residents: The case of the Jazzaldia Festival in Spain." International Journal of Event and Festival Management 12, no. 4 (2021): 418–36. https://doi.org/10.1108/IJEFM-05-2021-0037.

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<strong>Purpose </strong>The purpose of this paper is to explore the jazz festival experience at the Heineken Jazzaldia Festival in San Sebastian, Spain. It focuses especially on the relationship between participants’ area of residence and their experience of the festival, concert expectations, preference for different festival settings, and perception of the best aspects of the festival. <strong>Design/methodology/approach </strong>This study modifies and applies the Audience Experience Survey (Radbourne et al., 2009) to the Heineken Jazzaldia Festival in San Sebastian, Spain. A total o

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Kruger, Martinette, and Melville Saayman. "Segmenting beyond behavioural intentions." International Journal of Event and Festival Management 8, no. 2 (2017): 204–23. http://dx.doi.org/10.1108/ijefm-09-2016-0064.

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Purpose The purpose of this paper is to determine whether a music festival leads to additional intangible benefits such as the appreciation of the specific music genre and music tourism. This was done by using visitors’ behavioural intentions related to these benefits as a tool for market segmentation. Design/methodology/approach The research followed a quantitative approach by conducting a visitor survey at an international jazz festival in South Africa. Findings The results showed that visitors’ post-festival behavioural intentions are a useful market segmentation tool. This approach reveale

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Clarke, George Elliott. "Québécìté: A Libretto in Three Cantos (First Draft)." Canadian Theatre Review 112 (September 2002): 27–45. http://dx.doi.org/10.3138/ctr.112.006.

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Fajriaty Muchlis, Nur Farah, Mia Rahayu, Renold Renold, and Masri Ridwan. "Spotlight on festival travellers: Profiles, Motivations, and Experiences of Dieng Culture Festival Travellers, Indonesia." Jurnal Ilmiah Poli Bisnis 16, no. 1 (2024): 42–55. http://dx.doi.org/10.30630/jipb.v16i1.1352.

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The study found a change in the motivation of visitors to the festival. This study aims to identify visitors' memorable experiences related to tourist attractions at the Dieng Culture Festival, held from 2020 to 2022. The research was conducted using a quantitative-interpretative approach, with research instruments designed to determine visitors' profiles, purposes, and experiences. The sample size consisted of 398 respondents and 5 key informants. The research methodology involved data collection through online surveys and in-depth interviews with key informants. The research findings are pre

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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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Kovalenko, Yevhen. "Trends in the Development of Jazz Vocal and Instrumental Performance in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 213–22. https://doi.org/10.31866/2410-1176.37.2017.155645.

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The purpose of the article is to identify and characterize the trends in the development of jazz vocal and instrumental performance in Ukraine; study the state of higher jazz education and the activity of the leading Ukrainian contemporary jazz vocal-instrumental bands; identify the repertoire features and prospects for development of jazz performance in the context of contemporary Ukrainian music. The research methodology consisted in the organic set of basic principles of research: objectivity, historicism, multifactorness, systematicity, integrated approach, development

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Burland, Karen, and Stephanie E. Pitts. "Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival." Journal of New Music Research 39, no. 2 (2010): 125–34. http://dx.doi.org/10.1080/09298215.2010.493613.

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Medbøe, Haftor. "Green in blue." Jazz Research Journal 16, no. 2 (2024): 129–46. http://dx.doi.org/10.1558/jazz.27376.

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The global commodification of jazz (and indeed culture more generally) has contributed to significant and enduring environmental consequences. The various physical formats through which it has been disseminated have each employed by-products of the petrochemical industry in their production and distribution, and the environmental cost of digital streaming platforms has more recently been observed as contributing further to the carbon footprints of music producers and consumers. International and regional travel by touring artists and festival audiences has similarly been recognized as having n

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Thrane, C. "Music Quality, Satisfaction, and Behavioral Intentions Within a Jazz Festival Context." Event Management 7, no. 3 (2002): 143–50. http://dx.doi.org/10.3727/152599502108751541.

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Bracalente, Bruno, Cecilia Chirieleison, Massimo Cossignani, Luca Ferrucci, Marina Gigliotti, and M. Giovanna Ranalli. "The Economic Impact of Cultural Events: The Umbria Jazz Music Festival." Tourism Economics 17, no. 6 (2011): 1235–55. http://dx.doi.org/10.5367/te.2011.0096.

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This paper assesses the economic impact of a cultural event on a local economy. The event analysed is the Umbria Jazz music festival, which is held annually in July in the city of Perugia in Italy. The relevance of this case study concerns the methodological problems involved in estimating the number of visitors attracted by an event characterized by numerous free concerts. In addition, through the choice of the components of expenditure and the impact analysis model, the proposed approach represents an advanced synthesis of the paths which have been developing in the literature.

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Lee, Chang-ku. "A Study on the Irregular Rhythms of Jazz Music - Focusing on Al Jarreau's Newport Jazz Festival." Journal of Society for Music and Reality 69 (April 15, 2025): 137–57. https://doi.org/10.35441/mnk.69.1.3.137.

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Petr Kazimirovitch, Kornev. "Folklore and patriotic themes in Soviet jazz compositions of the 60-70s of the twentieth century." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 70–76. http://dx.doi.org/10.30725/2619-0303-2022-2-70-76.

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This article examines the influence of folklore on the works of Soviet jazz composers. Musicians, ensembles and jazz orchestras of various republics of the former USSR actively introduced into their repertoire both arrangements of folk songs and original pieces with a national flavor. An outsize proportion of improvisations in these compositions gave an extraordinary appeal to this music. Also, the article mentions the popularization of famous military songs by jazz bands and singers during the Second World War. Many famous world stars also replenished their repertoire with Russian melodies. S

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Setiarini, Agnes Tika. "STRATEGI POSITIONING DAN DIFERENSIASI DALAM UPAYA MEMBANGUN BRAND, STUDI KASUS NGAYOGJAZZ." JURNAL TATA KELOLA SENI 1, no. 2 (2017): 54–67. http://dx.doi.org/10.24821/jtks.v1i2.1641.

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Ngayogjazz adalah salah satu festival musik jazz yang diselenggarakan rutin setiap satu tahun sekali di Yogyakarta. Festival ini mengalami peningkatan jumlah penonton yang signifikan setiap tahunnya. Keberhasilan Ngayogjazz ini adalah salah satu hasil dari strategi pemasaran yang dijalankan. Strategi pemasaran yang baik akan menjadi penentu suksesnya pemasaran sebuah produk. Segitiga positioning, diferensiasi, brand (PDB) adalah salah satu pengembangan dari konsep pemasaran oleh Kertajaya. Teori ini dapat menjadi landasan untuk menentukan strategi positioning dan diferensiasi yang tepat bagi s

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Alam, Andi Zulfikar, Citra Aryandari, and Andi Taslim Saputra. "SOCIAL MEDIA ENGAGEMENT NGAYOGJAZZ SEBAGAI FESTIVAL MUSIK DI YOGYAKARTA." JURNAL HARMONI 13, no. 2 (2023): 132–53. http://dx.doi.org/10.26618/jh.v13i2.12881.

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This study aims to find out 1). How social media engagement is present in Ngayogjazz as a music festival in Yogyakarta. 2). How Social media plays a role in portraying the Ngayogjazz festival. To achieve the objectives of the study, qualitative research methods were used with a virtual ethnographic approach from Christine Hine where Social media was chosen as the locus of research. Social media theory is used as a foundation in framing thoughts and discussions.Data collection techniques are carried out in two ways, namely observing Ngayogjazz's activities on Social media and conducting intervi

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Nguyen, Tami, Kyungmin Lee, Namho Chung, and Chulmo Koo. "The way of generation Y enjoying Jazz festival: a case of the Korea (Jarasum) music festival." Asia Pacific Journal of Tourism Research 25, no. 1 (2019): 52–63. http://dx.doi.org/10.1080/10941665.2019.1580755.

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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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Curtis, Rebecca Anne. "Australia's Capital of Jazz? The (re)creation of place, music and community at the Wangaratta Jazz Festival." Australian Geographer 41, no. 1 (2010): 101–16. http://dx.doi.org/10.1080/00049180903535618.

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Saragih, Harriman Samuel. "Mining and exploring electronic word-of-mouth from Twitter: case of the Java Jazz Festival." Journal of Hospitality and Tourism Technology 12, no. 2 (2021): 341–54. http://dx.doi.org/10.1108/jhtt-03-2020-0067.

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Purpose This paper aims to explore textual patterns in ten years of electronic word-of-mouth communications amongst social media (SM) users of the Java Jazz Festival. Design/methodology/approach This study uses a data-scraping technique to gather user-generated content from Twitter. Word-cloud and word-frequency analysis, along with descriptive coding and pattern matching, are used to categorise the initial findings. Trends and differences in terms of the number of tweets over a ten-year period were examined using analysis of variance and seasonality analysis. Findings From more than 1.3 milli

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Baalbaki, Ioana, and Lubnan Baalbaki. "Analytical Foray on Tiberiu Herdlicska’s Fractured Realities / Incursiune analitică asupra lucrării „Realități fracturate” de Tiberiu Herdlicska." Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field 15, no. 2 (2024): 65–69. https://doi.org/10.47809/ictmf.2024.02.07.

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Composer and performer alike, Tiberiu Herdlicska surprises with the improvisational and innovative character of his works, in which the piano plays an essential role, but also with the versatility with which he approaches various piano repertoires, from the most extravagant and challenging works of contemporary music, to improvisation of jazz and pop music. The present study represents an analytical foray into the work Fractured Realities for piano, percussion and electronics by Tiberiu Herdlicska, a work that premiered at the Cluj Musical Autumn Festival, 57th edition, that took place in Octo

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Woodall, G. Carole. "Listening for Jazz in Post-Armistice Istanbul." International Journal of Middle East Studies 48, no. 1 (2016): 135–40. http://dx.doi.org/10.1017/s0020743815001543.

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On the evening of 14 July 2013, while living in Istanbul, I walked down Kumbaracı Yokuşu away from the sounds of protest to the city's contemporary art museum. As part of the Istanbul Jazz Festival lineup, the Istanbul Modern screened director Batu Akyol's documentary Türkiye'de Caz (Jazz in Turkey), which gathers interviews with Turkish jazz musicians intimate with the country's jazz scene from the 1940s onward. The emergence of a jazz ecology of musician-composers, entrepreneurs, jazz promoters, and collectors runs in tandem with the history of the Turkish Republic, beginning in the years le

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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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Ilienko, O., and A. Furdychko. "PERFORMANCE FEATURES OF THE «CHERVONA RUTA» FESTIVAL: FOCUS ON THE INHERITANCE OF TRADITIONS." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 24 (2022): 34–40. http://dx.doi.org/10.34079/2226-2849-2022-12-24-34-40.

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The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founde

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Bares. "Transatlanticism as Dutch National Spectacle: Universalism and Postpolitics at the North Sea Jazz Festival." American Music 33, no. 3 (2015): 345. http://dx.doi.org/10.5406/americanmusic.33.3.0345.

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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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Kruger, Martinette, and Melville Saayman. "‘All that jazz’: the relationship between music festival visitors’ motives and behavioural intentions." Current Issues in Tourism 22, no. 19 (2018): 2399–414. http://dx.doi.org/10.1080/13683500.2018.1451496.

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Griffin, Farah Jasmine. "Following Geri's Lead." Daedalus 148, no. 2 (2019): 13–22. http://dx.doi.org/10.1162/daed_a_01739.

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Drawn from a keynote delivered for Timeless Portraits and Dreams: A Festival in Honor of Geri Allen (Harvard University, February 16–17, 2018), this personal essay shares observations about Allen's intellectual and artistic leadership in diverse roles including bandleader, teacher, curator, and artistic visionary. In addition to discussions of Allen's music and recordings, this essay also focuses on her collaboration with the author and actor/director S. Epatha Merkerson, which resulted in two musical theater projects, Great Jazz Women of the Apollo (2013) and A Conversation with Mary Lou (201

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Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.

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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Co

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BARZEL, TAMAR. "An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene." Journal of the Society for American Music 4, no. 2 (2010): 215–50. http://dx.doi.org/10.1017/s1752196310000039.

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AbstractIn April 1993 the Knitting Factory, a small nightclub in Lower Manhattan, hosted a five-day music festival titled “Radical New Jewish Culture.” This event was part of a multifaceted creative endeavor undertaken during the 1990s by composer/improvisers on New York City's downtown music scene and dubbed “Radical Jewish Culture” by its main protagonist, saxophonist John Zorn. RJC brought Jewish music and heritage into the purview of a polycultural experimentalist scene shaped by jazz, rock, free improvisation, and avant-garde concert music. Artists downtown also engaged in an animated “co

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Anderson, Martin. "London, Cadogan Hall and King's Place: Second London Festival of Bulgarian Culture." Tempo 67, no. 265 (2013): 81–83. http://dx.doi.org/10.1017/s0040298213000557.

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One of the most enjoyable characteristics of London musical life is that it is peopled by a generous number of foreigners who, every so often, take it upon themselves to enlighten the rest of us as to the music we are missing from back home. These can, of course, be hit-and-miss occasions, but it's in the nature of exploring unknown music of any age that you will happily put up with a handful of duds if you come away with a real discovery ringing in your ears. The Second London Festival of Bulgarian Culture (I seem to have missed the First) ran in various venues over the course of November 201

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Mattl, Siegfried. "Utopies du cinéma parlant ou les Semaines internationales du cinéma de Vienne et la connexion entre l’opérette et le cinéma autrichien." Austriaca 64, no. 1 (2007): 27–38. http://dx.doi.org/10.3406/austr.2007.4529.

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The First Vienna Film Festival in 1934 focused on film music as one of the most promising means of rejuvenating the Austrian film industry. Composers of classical and entertainment music were to work together with opera singers, famous local actors, music academies, operetta directors and distinguished Viennese orchestras to establish artistic networks located in a third space between high-cultural and popular traditions. While established genres in Vienna’s movie industry in the 30s and 40s (comedies and romances) and stylistic particularities (like the reworking of operettas for film) are of

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Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –

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Anggasta, Maria Giovanie, and Elda Franzia. "ANALISIS SEMIOTIKA VISUAL PADA POSTER NGAYOGJAZZ 2011-2014." Jurnal Dimensi Seni Rupa dan Desain 12, no. 2 (2016): 177. http://dx.doi.org/10.25105/dim.v12i2.57.

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Abstract<br />The Visual Semiotic Analysis in 2011-2014 Ngayogjazz's Poster.<br />Ngayogjazz came with purpose to counter that opinion of jazz music was<br />luxury, elite, and deconstruct the mindset in public by organizing a jazz festival<br />that is not mainstream. In each implementation, Ngayogjazz always comes<br />with a tagline from Java proverb and it given Jazz flavor and also proverbs that is<br />used as aesthetic, intimate, and has become a habit of the Javanese in using<br />proverbs in daily life. Later Slang used because it could be int

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McNeilly, Kevin. "This Ain’t No Time for Innocence: Québécité,." Canadian Theatre Review 118 (June 2004): 121–23. http://dx.doi.org/10.3138/ctr.118.023.

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Aside from producers and performers, I was one of the few people able to attend both stagings of Québécité, a jazz opera composed by Ottawa native (now New York-based) D.D. Jackson, with a libretto by Governor General’s Award-winning poet George Elliott Clarke. The premiere at Guelph’s River Run Centre on 5 September 2003 was the main event of the tenth Guelph International Jazz Festival, for which it was commissioned. This performance was recorded by the CBC, which has broadcast portions of it several times over the past few months. The opera was mounted again in Vancouver for two nights in O

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Gibbs, Alan. "London, Morley College and Leighton House: Mátyás Seiber celebrations." Tempo 59, no. 234 (2005): 43–45. http://dx.doi.org/10.1017/s0040298205270304.

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With Tippett and Rawsthorne centenaries this year, Mátyás Seiber's (1905–60) might have been overlooked, but Morley College, prompted by the composer's daughter Julia, made sure it was not with a well-devised festival comprising four concerts, two lectures (by Michael Graubart and Hugh Wood – both names familiar to Tempo readers, and the latter currently especially featured) and an exhibition. Seiber was one of a number of continental arrivals, the others including Gerhard and Reizenstein, who remained here to our considerable benefit, in Seiber's case becoming a much sought-after teacher of c

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