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Journal articles on the topic 'Music festivals'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gusāns, Ingars. "DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE." Via Latgalica, no. 5 (December 31, 2013): 105. http://dx.doi.org/10.17770/latg2013.5.1638.

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The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started adve

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Nhan, Do Thi Thanh, and Nguyen Dinh Thao. "Music in the Festival of Vietnamese People (Thanh Hoa) - Issues." Journal of Humanities and Education Development 4, no. 3 (2022): 106–12. http://dx.doi.org/10.22161/jhed.4.3.12.

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The article focuses on studying music in festivals of Vietnamese people in Thanh Hoa. Through the collected material, the authors have synthesized, explored the cultural aspects of the composition and analyzed the music. The result of the research is to find out the meaning of music in contributing to the festival's appearance and to find out the operating rules and basic characteristics of music. From there, several discussions are given to preserve and promote music in the festival to achieve higher efficiency in life. The research results are the judgments about the culture and music consti

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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.

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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-

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Cashman, David. "‘The most atypical experience of my life’: The experience of popular music festivals on cruise ships." Tourist Studies 17, no. 3 (2016): 245–62. http://dx.doi.org/10.1177/1468797616665767.

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This article considers the growing phenomenon of music festivals on cruise ships. These commercial events, partnerships between event companies and shipping lines, celebrate a particular genre of music and occur aboard a cruise ship. The views of 138 festivalgoers primarily concentrated within six festivals were considered. According to these sources, the festival experience of these events is centred on three factors: live performances, interaction with fellow festivalgoers and star musicians (collectively referred to as ‘ship fam’), and interaction with the constructed space of the cruise sh

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Ismail, Khairiah, Nawal Hanim Abdullah, Norol Hamiza Zamzuri, and Anuar Shah Bali Mahomed. "GOVERNMENT RESPONSIVENESS ON SAFETY AND SECURITY OF MALAYSIA MUSIC FESTIVALS." Journal of Tourism, Hospitality and Environment Management 7, no. 30 (2022): 198–205. http://dx.doi.org/10.35631/jthem.730015.

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Music festivals are often viewed as events that attract a large number of attendees. Despite their positive economic, environmental, and policy impacts on host cities, there are always safety and security concerns at music festivals. This paper emphasises the significance of having proper safety and security, with a particular focus on Malaysian music festivals. The perspectives of government agencies were sought to acquire evidence regarding the impact of a safe and secure music festival, as the approval or rejection of music festivals is dependent on them. Previous studies have highlighted t

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Turris, Sheila A., Tracie Jones, and Adam Lund. "Mortality at Music Festivals: An Update for 2016-2017 – Academic and Grey Literature for Case Finding." Prehospital and Disaster Medicine 33, no. 5 (2018): 553–57. http://dx.doi.org/10.1017/s1049023x18000833.

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AbstractIn 2016, the authors published a paper on music festival fatalities between the years 1999 and 2014 (n=722). In this Special Report, they provide an update on fatalities reported at music festivals globally for the period 2016-2017 (n=201). Using a search strategy designed to capture grey literature and media reports of music festival fatalities, reports of the overall frequency and cause-of-death breakdown for publicly reported, festival-related deaths are recorded. This update shows an increase in the frequency of festival-related fatality reports during the new period, together with

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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.

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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of moti

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Alvarado, Karla Gabriela. "Accessibility of music festivals: a British perspective." International Journal of Event and Festival Management 13, no. 2 (2022): 203–18. http://dx.doi.org/10.1108/ijefm-12-2020-0082.

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PurposeThis investigation aims to critically assess accessibility for persons with disabilities (PWDs) at music festivals in the UK.Design/methodology/approachA systematic review of the literature was conducted, followed by a case study focused on analysing accessible facilities and services offered at Glastonbury, Creamfields, Latitudes and Bestival Festivals. These two research strategies made use of secondary data only.FindingsBased on the analysis of the needs of PWDs when attending a music festival and the facilities and services currently offered at the four UK music festivals studied in

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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.

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Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a cont

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Han, Mingzhao. "Branding Strategies of Outdoor Music Festival: A Case Study of Strawberry Festival." BCP Business & Management 38 (March 2, 2023): 2072–78. http://dx.doi.org/10.54691/bcpbm.v38i.4038.

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With the change of music industry, the traditional recording industry began to decline, and diversified music forms were accepted by people. Outdoor music festival is one of the representatives, it is gradually gaining more and more attention due to high participation and immersive on-site experience and occupying more share in entertainment market. Compared with other forms of music performance, music festival is not only a platform to show a variety of styles and types of music performance, but also can be integrated with tourism and other forms of business, forming a comprehensive entertain

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Maglov, Marija. "Agency festivals in Serbia: An introduction." Muzikologija, no. 35 (2023): 53–66. http://dx.doi.org/10.2298/muz2335053m.

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The text is intended as an introduction to the research of the agency festivals in Serbia. The term agency festival is explained with examples of international equivalents and an overview of local and regional networks of agency festivals is provided. The most prevalent topics tackled at the agency festivals and, following their content, their significance for contemporary (popular) music beyond music industry goals are presented. The focus is on Kontakt konferencija and Indirekt Showcase festival in Belgrade.

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Hodak, Danijela Ferjanić, Goran Belošević, and Antonio Vlahov. "Towards better understanding electronic music festivals motivation." Zagreb International Review of Economics and Business 23, no. 2 (2020): 141–54. http://dx.doi.org/10.2478/zireb-2020-0018.

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AbstractElectronic music festivals became one of the most successful forms of tourism for young adults. In the paper, authors aimed to explored the motivation and the perception of the potential visitors of electronic music festivals in Croatia and to identify the key dimensions of electronic music festivals. Instrument used for the primary research was a structured on-line questionnaire distributed among students of the University of Zagreb. In total, 350 questionnaires were collected and analyzed. Factor analyses resulted with three factors concerning motivation (music and fun, travel, socia

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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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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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Giurgea, Corina Maria, Carmen-Anca Safta, Ciprian Lupu, Mihaela Ordean, and Dan Opruţa. "Water management issues in the context of music festivals." IOP Conference Series: Earth and Environmental Science 1136, no. 1 (2023): 012010. http://dx.doi.org/10.1088/1755-1315/1136/1/012010.

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Abstract In recent years, festivals, especially music festivals have become important vectors for promoting their host cities. Festivals are complex phenomena with high economic and socio-cultural impact. High CO2 emissions and huge resource consumption are commonly related to the festivals’ negative environmental impact. Ensuring the suitable amount of water for a large-scale event is essential for both the audience experience and the city residents, especially when their access to water is hindered by excessive water usage for the festival. Therefore, an accurate estimation of water consumpt

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Kõmmus, Helen. "How to Participate in Participatory Music Making at a Contemporary Folk Music Festival: Runosong Nests at the Viljandi Folk Music Festival and Pelimanni Evenings at the Kaustinen Folk Music Festival." Folklore: Electronic Journal of Folklore 91 (December 2023): 141–64. http://dx.doi.org/10.7592/fejf2023.91.kommus.

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The article studies, compares and analyses participatory music making at Estonian and Finnish folk music festivals. By comparing the empirical research materials collected during comprehensive fieldwork in 2004–2019 from the regilaulupesa (Eng. runosong nest) of the Viljandi Folk Music Festival (Est. Viljandi pärimusmuusika festival) in Estonia and from the pelimanni (Eng. folk musician, fiddler) evenings of the Kaustinen Folk Music Festival (Fin. Kaustisen kansanmusiikkijuhlat) in Finland, answers were sought to the following questions: What kind of participatory music making takes place at t

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Skliamis, Kostas, and Dirk J. Korf. "Cannabis festivals and their attendees in four European cities with different national cannabis policies." International Journal of Event and Festival Management 10, no. 2 (2019): 138–54. http://dx.doi.org/10.1108/ijefm-08-2018-0049.

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Purpose The purpose of this paper is to: describe and contextualize the aims and distinctive and common characteristics of cannabis festivals in countries with different cannabis policies; assess characteristics of participants; identify reasons to attend cannabis festivals; explore to which extent cannabis festivals contribute to the social and cultural acceptance of cannabis, as perceived by attendees. Design/methodology/approach The approach incorporates three methods of data collection in the research design; quantitative research among 1,355 participants, participant observation and inter

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Kinnunen, Maarit, and Antti Honkanen. "Impacts of the COVID-19 pandemic on music festival attendees." Popular Music 40, no. 3-4 (2021): 317–46. http://dx.doi.org/10.1017/s0261143021000611.

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AbstractAs festivals were cancelled or people were afraid of participating in mass gatherings during the COVID-19 pandemic, the well-being effects of festival participation were missed. How can these missed hedonic, eudaimonic or social well-being impacts be described, and how has the prolonged absence of live music events and the cancellation of the festival summer influenced attitudes towards festivals? Research data comprised nearly 13,000 responses to the Finnish Festival Barometer 2020 at a time when all the large festivals had been cancelled. Clustering the COVID-19 related questions led

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Karsono, Karsono. "Tourism and education intersection: cultural reproduction of Osing community in the Angklung Caruk music festival." International Journal of Visual and Performing Arts 5, no. 2 (2023): 106–19. http://dx.doi.org/10.31763/viperarts.v5i2.1164.

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Music festivals are social and cultural events mostly seen as activities to present artistic expressions for the audience to enjoy. If it is investigated closely, the presentation of work at festivals is the final culmination of training and learning, both of which are essential elements of the educational process. This research aims to examine and show that music festivals have educational elements, even in the context of tourism interests. The music festival studied was the Angklung Caruk Festival, a type of traditional music from the Osing community. The festival competes for musical skills

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Tjora, Aksel. "The social rhythm of the rock music festival." Popular Music 35, no. 1 (2015): 64–83. http://dx.doi.org/10.1017/s026114301500080x.

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AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis wil

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Krstić, Marija. "All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival." Issues in Ethnology and Anthropology 7, no. 2 (2016): 447–70. http://dx.doi.org/10.21301/eap.v7i2.7.

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In this paper I research famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing on line photographs about the festival. The Dragačevo Trumpet Festival is one of the most famous music festivals in Serbia and one of the most famous brass band festivals in the world. Since 1961, it is annually held in the village of Guča in western Serbia. From 1962, the participants from other parts of Serbia came to Guča, while in 1963 for the first time the Roma players participated. From that time on, Roma remained among the best trumpeters at the competiti

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Jones, Tracie. "Mortality at Music Festivals." Prehospital and Disaster Medicine 34, s1 (2019): s151. http://dx.doi.org/10.1017/s1049023x19003388.

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Introduction:Fatalities at music festivals are seldom reported in the academic literature, making it difficult to understand the full scope of the issue. This gap in our knowledge makes it challenging to develop strategies that might reduce the mortality burden. It is hypothesized that the number of fatalities is rising. Building on earlier research, two further years of data on mortality at music festivals was analyzed.Methods:Synthesis of grey/academic literature.Results:The grey literature for 2016-2017 documented a total of 201 deaths, including both traumatic (105; 52%) and non-traumatic

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Zmudzińska, Kamila, and Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland." Journal of Geography, Politics and Society 13, no. 2 (2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.

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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to f

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Stajić, Jana. "The user's perception of the quality of service in organizing music festivals using the SERVQUAL model." Tehnika 79, no. 2 (2024): 227–34. http://dx.doi.org/10.5937/tehnika2402227s.

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In this paper, the user's perception of the quality of the music festival organizing service was analyzed. The tool for measuring the quality of music festivals is based on the SERVQUAL model. The research was conducted during the months of May and June, 2023. The obtained results can be useful to the organizers of music festivals in order to improve the quality of the services they provide. The EXIT festival, which is organized in July every year in the Petrovaradin Fortress, in Novi Sad, Serbia, was used as the subject of analysis.

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Pope, David A., and James P. Mick. "How Positive Festival Results Impact a Music Program." Music Educators Journal 105, no. 1 (2018): 33–38. http://dx.doi.org/10.1177/0027432118792071.

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Adjudicated festival ratings can affect developing musicians, ensemble directors, and music programs long after festival performances end. With prior research demonstrating that adjudicators provide an abundance of positive ratings at festivals, this article discusses how ratings—both appropriate and inappropriate—may influence students’ musical development and the growth of music programs, as well as ensemble directors’ professional development. Based on their personal teaching philosophies and the discussion points in this article, directors are encouraged to determine whether their current

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Chang, Jung-Jung, Ruey-Feng Chen, and Chia-Li Lin. "Exploring the Driving Factors of Urban Music Festival Tourism and Service Development Strategies Using the Modified SIA-NRM Approach." Sustainability 14, no. 12 (2022): 7498. http://dx.doi.org/10.3390/su14127498.

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Urban music festivals play an important role in tourism. Festival tourism attracts fans and event participants from all over the world. They can contribute not only to the tourism industries but also to local and regional economic development. This study focuses on how urban music festival tourism can successfully attract tourist participation. It explores the service needs and the critical factors that affect tourists’ favorable participation decisions. The SIA (Satisfaction Importance Analysis) approach was applied to evaluate the service performance aspects/criteria for urban music festival

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Pavluković, Vanja, Uglješa Stankov, and Daniela Arsenović. "Social impacts of music festivals: A comparative study of Sziget (Hungary) and Exit (Serbia)." Acta geographica Slovenica 60, no. 1 (2020): 21–35. http://dx.doi.org/10.3986/ags.6514.

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Music festivals are often seen as a key driver of the city's economies. Therefore, there is an increasing interest in the impacts associated with them. The aim of this research is to examine residents' perceptions of the social impacts of two European music festivals, Sziget (Budapest, Hungary) and Exit (Novi Sad, Serbia), applying the modified Festival Social Impact Attitude Scale and to compare the results using Importance–Performance Analysis. Similarities and differences in perceptions of social impacts of two festivals are discussed with the proposition of priorities for destinations. The

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Bondarenko, Andrii. "Electronic Dance Music in Ukrainian Musical Culture." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 60–66. https://doi.org/10.31866/2410-1176.43.2020.220071.

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The purpose of the work is to analyse the features of electronic dance music (EDM) in the cultural space of Ukraine in the late 2000s and early 2010s based on the study of online publications on electronic dance music, review the most important events in EDM culture and provide an interpretation of the most relevant musical trends over the past two decades. The research methodology includes descriptive and interpretive approaches, statistical analysis, synthesis and generalization of the collected information to complete the scientific understanding of the electronic dance music existence in U

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Kohlhofer, Monika, Franziska Soos, Ingeborg Patsch, Susanne Gellweiler, and Mark Romanelli. "Metal Meets Green: A Multifaceted Exploration of Sustainability Perceptions at Heavy Metal Music Festivals." International Journal of Hospitality & Tourism Management 8, no. 2 (2024): 52–64. http://dx.doi.org/10.11648/j.ijhtm.20240802.14.

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The enduring presence of heavy metal music spanning multiple decades has generated a large global audience of devoted fans. Within Europe, renowned metal music festivals such as Wacken Open Air and Rock am Ring in Germany have solidified the genre&apos;s influence. Although scholarly research has explored metal music festivals and their attendees, there has been a noticeable gap in the examination of sustainability aspects within this domain. Consequently, this work undertakes a quantitative investigation into the social, environmental, and economic impacts within the context of metal musi

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Fileborn, Bianca, Phillip Wadds, and Stephen Tomsen. "Sexual harassment and violence at Australian music festivals: Reporting practices and experiences of festival attendees." Australian & New Zealand Journal of Criminology 53, no. 2 (2020): 194–212. http://dx.doi.org/10.1177/0004865820903777.

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Despite the well-documented under-reporting of sexual violence, to date, no research has considered reporting practices within the specific context of music festivals. Drawing on 16 in-depth interviews with victim-survivors, this article examines survivors’ experiences of (non)reporting sexual violence in festival settings. We argue that while some barriers to reporting are shared across contexts, others play out in context-specific ways. Our research argues that the liberal, often transgressive culture of music festivals, combined with site-specific policing practices and spatial context, cre

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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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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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Caleta, Josko. "The festival of Dalmatian klapa in Omis as an example of the festivalization of Croatian traditional music." Muzikologija, no. 35 (2023): 67–85. http://dx.doi.org/10.2298/muz2335067c.

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The term ?folk music? in Croatia is closely related to the history of its performance at festivals and other related public events. Festivals (smotre) were an appropriate field of application in the place of canonization of traditional music. Through their existence and activity, various musical genres, styles, and performers were profiled. All of the above will be defined and analyzed through the example that is the focus of this research - the Festival of Dalmatian klapa in Omis, a festival that formatted, institutionalized, and popularized klapa singing.

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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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Portugal, João Pedro, Antonia Correia, and Paulo Águas. "Decisions on participation in music festivals: an exploratory research in Portugal." International Journal of Event and Festival Management 13, no. 2 (2022): 164–81. http://dx.doi.org/10.1108/ijefm-07-2021-0059.

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PurposeMusic festivals offer new opportunities for leisure and tourist experiences in Portugal. Some tourists and residents, the so-called festival goers, participate and come back to these events, whereas others, the non-goers, never participate and are not willing to do so. The aim of this research is to understand the decision to participate or not based on facilitators and constraints to participate or not in a music festival, dismantling residents and tourists' attitudes.Design/methodology/approachData were collected from 1,178 music festival goers and non-goers in Portugal. Content analy

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E.O., Acquah, and Owusu-Ansah J. "Abele Indigenous Musical Genre in the Context of Yeji Kajoji Festival." African Journal of Culture, History, Religion and Traditions 4, no. 1 (2021): 29–40. http://dx.doi.org/10.52589/ajchrt-8dj4tji6.

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The role of indigenous musical performances in traditional festivals has been very significant in the lives of Africans. In Ghana, some of such festivals are pivoted on particular distinctive natures of the indigenous music. One of such musical genres is the Abele music performed by the people of Yeji in the Bono-East region of Ghana. This music is formalized in the context of the Kajoji festival celebrated annually by the community. Through ethnographic research design, the study documents the role of Abele music in the context of the Yeji Kajoji annual festival. The reason is to add to the l

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Niu, Panqiang, Zetong Li, and Anang Masduki. "Influencing Factors of Audience's Willingness to Consume of Outdoor Music Festival Based on Grounded Theory." Jurnal ASPIKOM 8, no. 1 (2023): 123. http://dx.doi.org/10.24329/aspikom.v8i1.1239.

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This paper adopts grounded theory to conduct an exploratory study on the influencing factors of outdoor music festival audience's willingness to consume. First, we used 'music festival' as the search keyword to collect secondary information such as blog posts, online pictures, and news reports related to outdoor music festivals. Then, based on the previous research and the author's experience, this paper conducted ten one-on-one in-depth interviews and a group interview with the Nanjing Forest Music Festival in China as the field research object. On this basis, the article performed word frequ

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FitzGibbon, Kathleen M., Jose V. Nable, Benjamin Ayd, et al. "Mass-Gathering Medical Care in Electronic Dance Music Festivals." Prehospital and Disaster Medicine 32, no. 5 (2017): 563–67. http://dx.doi.org/10.1017/s1049023x1700663x.

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AbstractIntroductionElectronic dance music (EDM) festivals represent a unique subset of mass-gathering events with limited guidance through literature or legislation to guide mass-gathering medical care at these events.Hypothesis/ProblemElectronic dance music festivals pose unique challenges with increased patient encounters and heightened patient acuity under-estimated by current validated casualty predication models.MethodsThis was a retrospective review of three separate EDM festivals with analysis of patient encounters and patient transport rates. Data obtained were inserted into the predi

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Lee, Jae Yeon, and Seong-Joon Limb. "A Study on the Factors Affecting Satisfaction and Behavioral Intention of Electronic Dance Music Festival." Korea Association Of Cultural Economics 25, no. 2 (2022): 145–72. http://dx.doi.org/10.36234/kace.2022.25.2.145.

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This study identified what factors the audience considers when choosing to visit the EDM festival, and analyzed which selection factors affect satisfaction and behavioral intentions. To this end, a survey was conducted with 317 people who had visited EDM festivals. As a result of the analysis, the audience's choice of EDM festivals were identified as 9 factors (sense of unity factor, sociability factor, service factor, information and accessibility factor, DJ's performance factor, reputation and recognition factor, alcohol price and diversity factor, promotion factor, ticket factor

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Ismail, Khairiah, Nawal Hanim Abdullah, Hamimah Hassan, and Norol Hamiza Zamzuri. "Does Festival-goer is a Risk-Taker?" Environment-Behaviour Proceedings Journal 6, SI4 (2021): 171–76. http://dx.doi.org/10.21834/ebpj.v6isi4.2916.

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This paper examines festivalgoers' risk-taking behaviour, focusing on a Malaysian music festival. A qualitative methodology based on in-depth interviews with 15 music festival-goers. The respondents' risk-taking behaviour was examined using DOSPERT, including financial, health and safety, recreation, ethical, and social domains. The findings show that the previous music festival's risks did not affect festivalgoers' motivation to attend. A significant impact on government, organiser, and society. Respondents offered some guidelines for organising a music festival. Since very few papers examine

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Bossey, Adrian. "Accessibility all areas? UK live music industry perceptions of current practice and Information and Communication Technology improvements to accessibility for music festival attendees who are deaf or disabled." International Journal of Event and Festival Management 11, no. 1 (2020): 6–25. http://dx.doi.org/10.1108/ijefm-03-2019-0022.

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PurposeThis paper responds to a range of theory and industry reporting, to provide an informed narrative which explores the current state of accessibility at UK festivals for people who are Deaf or disabled and the potential implications of developments in ICT for enhancing design, marketing, operations and performances across all phases of festival delivery, in order to improve inclusivity and accessibility. To this end, the paper addresses the following question: What do representatives of the UK live music industry perceive as barriers to accessibility and exemplars of current best practice

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Čekrlija, Saša, and Zlatibor Milić. "THE SIGNIFICANCE OF TOURIST CONSUMPTION FROM THE PERSPECTIVE OF ORGANIZING MUSIC FESTIVALS." SCIENCE International Journal 3, no. 1 (2024): 133–37. http://dx.doi.org/10.35120/sciencej0301133c.

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This paper explores the importance of tourist expenditure in the context of organizing music festivals. Music festivals have become crucial elements of cultural and tourist experiences worldwide, attracting a large number of visitors from different parts of the globe. This paper analyzes the impact of tourist spending on the economy and local communities, with a specific focus on the organization of music events. A particular emphasis is placed on the organizational aspects of music events, from the meticulous planning and execution to the intricate interdependence with economic variables. By

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Chung, Jellna, Woohyuk Kim, Nayeon Kim, and Sung-Bum Kim. "Examining the Impact of Local Attachment, Prior Knowledge, and Involvement in International Music Festival on Destination Image, Attitude and Support." Institute of Management and Economy Research 15, no. 1 (2024): 257–71. http://dx.doi.org/10.32599/apjb.15.1.202403.257.

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Purpose - This study examined the relationship between local attachment, prior knowledge and involvement in the festival, and local image, attitudes toward and support for the festival among people who have visited the Incheon Pentaport Music Festival, the largest music festival in Korea. Design/methodology/approach - A total of 250 samples were used for the final analysis, and SPSS 26.0 and AMOS 21.0 were used to analyze the data. The structural equation model analysis was conducted to test the hypotheses of this study. Findings - As a result of the analysis, first, only local attachment was

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Pakhomov, Yuriy. "Sumy region wind music festivals from the standpoint of cultural and artistic traditions of the region." Culturology Ideas, no. 20 (2'2021) (2021): 163–70. http://dx.doi.org/10.37627/2311-9489-20-2021-2.163-170.

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The article considers such kind of musical activity as festivals of wind music. As a result of research, the emergence and development of some orchestral festivals held in Sumy region at different levels of performance have been traced. Their role in aesthetic and patriotic education is determined, as well as the need for such measures to promote orchestral wind music, preservation and further development of orchestral traditions, which are important both in military rituals and in public life of the region. It has been found that nowadays wind music festivals are a major factor in the develop

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Marcoll, Maximilian. "ECLAT 2017, Stuttgart, Germany." Tempo 71, no. 281 (2017): 95–96. http://dx.doi.org/10.1017/s0040298217000389.

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Unlike many other New Music festivals, Eclat has so far resisted the temptation to build the festival programmes around central themes. The Eclat festival is one of the major annual gatherings of the German and international scene for contemporary music, taking place in Stuttgart and organised by ‘Musik der Jahrhunderte’ (Christine Fischer) in collaboration with the SWR (Lydia Jeschke). The lack of a central theme doesn't indicate a pragmatic or vague approach to curation, but the festival organisers’ aim to assemble a selection of artists, ensembles and pieces that are either directly asking

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Davies, Karen, Mary Beth Gouthro, Nic Matthews, and Victoria Richards. "Festival Participation, Inclusion and Poverty: An Exploratory Study." Tourism and Hospitality 4, no. 1 (2023): 51–74. http://dx.doi.org/10.3390/tourhosp4010005.

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Music festivals (in the UK) have the potential to enhance the quality of life of attendees and participants, and therefore it might be argued they should be accessible to all. However, the barriers to participation that some may face when seeking to access and engage with festival experiences can often be attributed to the issue of marginalisation due to poverty. Utilising the three discourses of social inclusion put forward by Levitas as a framework, the study explores what UK music festival organisations are doing and could do to make their events more accessible to people living in poverty.

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Piché, Jean. "New Music America." Circuit 1, no. 2 (2010): 7–8. http://dx.doi.org/10.7202/902011ar.

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Ce dossier comprend trois parties. Tout d’abord, son directeur artistique, Jean Piché, resitue l’événement montréalais dans la foulée des festivals de même nature qui se sont tenus aux États-Unis les dix dernières années, et le Lyonnais James Giroudon propose un carnet de notes sur l’ensemble du festival. Huit chroniqueurs proposent ensuite des notes sur la totalité des concerts présentés. Dans un troisième temps, une évaluation globale, fortement critique du festival, est présentée par Jean Lesage et Jean-Jacques Nattiez auquel, dans un dernier texte, répond Jean Piché.

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Ramesh, Dr S. "The Economic Impact of Music Festivals: Cultural Events and Local Commerce." Journal of Humanities,Music and Dance, no. 45 (September 27, 2024): 41–50. http://dx.doi.org/10.55529/jhmd.45.41.50.

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This study examines the economic implications of music festivals, focusing on their role as cultural events and their impact on local commerce. Incorporating both quantitative economic data and qualitative insights from stakeholders, the research explores how these festivals contribute to regional economies. The study considers direct economic impacts, such as ticket sales and local spending, as well as indirect effects, including job creation and tourism boost. By analyzing a specific case study of a major music festival, this paper aims to provide a comprehensive understanding of the economi

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Fedotova, Yulia V., and Alexandr S. Fedotov. "MUSIC FESTIVAL AS AN EXPERIENCE OF PRESERVING THE CULTURAL MEMORY OF THE PEOPLE (RECONSTRUCTION OF THE URAL MUSIC FESTIVALS OF THE 1930S – 1970S)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 155–65. http://dx.doi.org/10.17223/22220836/43/12.

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The article reconstructs the process of origin and development of the festival movement in the Urals in the 1930s – 1970s in the music and concert sphere. The history of some of the largest festivals is viewed in the context of the formation of the Soviet festive culture and the goals of the Soviet cultural policy. The authors highlight the main holidays, for which the philharmonic society prepared musical programs - the anniversaries of the October Revolution of 1917 and the formation of the USSR, the birthday of V.I. Lenin. Since the late 1930s, the scope of musical programs has steadily inc

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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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