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Lupak, R., V. Tarasyuk, and K. Varkholyak. "Aspects of festival events tourism development." Galic'kij ekonomičnij visnik 66, no. 5 (2020): 30–37. http://dx.doi.org/10.33108/galicianvisnyk_tntu2020.05.030.
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The importance of tourism development for the country's economy and the growing popularity of festival events tourism in the context of music, gastronomic and ethno-festival events is summarized. The conceptual characteristics of festival events tourism that require in-depth research are clarified. The economic advantages of each direction of festival event tourism and their interrelation with other economic processes are listed. Special attention is paid to marketing, technological, social, historical and other features of their formation and progressive growth. Peculiarities (in the context of meeting social needs, formation of new directions of tourist culture, development of economic and resource opportunities, expansion of interstate relations, introduction of advanced technologies) and factors (demographic, economic, political, technical-technological, social-psychological, organizational- cultural) of the development of music, gastronomic and ethnic festival tourism are determined. The characteristics of festival events tourism in Ukraine and certain European countries are given, particularly, taking into account the number of festivals, their visitors, the average ticket price and seasonality. The preconditions of the formed significant difference between the tourist activity organization in Ukraine and the group of European countries are determined. The required formation and implementation of tourism policy on the state basis, including the creation of extensive institutional network of tourism regulators, particularly festival events tourism are emphasized. It is proved that problems solution in the tourist complex has positive effect on the economic security of the country requiring a reasonable choice of the relative areas of industry development. The advantages of holding joint (music, gastronomic, ethnic) festivals are substantiated, forming at the same time new direction of tourist culture. It is concluded that organization and running of festival events create a wide range of opportunities for the territories development improving the market infrastructure, accelerating the rate of information technology development and increasing business activity.
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Chirico, Robert. "From Cave to Caféé: Artists' Gatherings." Gastronomica 2, no. 4 (2002): 33–41. http://dx.doi.org/10.1525/gfc.2002.2.4.33.
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Historical documentation regarding public festivals and banquets continually acknowledges the alliance of painting, poetry, music, and design, but in contrast to these records, accounts of artists personal revelries remain scarce. This article discusses the festive, social, political, and artistic aspects of notable gatherings that took place over the past five centuries. Among the examples mentioned are the serious gatherings of Baccio Bandinelli's Academy and the meetings of the Dutch Rhetoricians (Rederijkers); the lavish parties of the 16th century artist Rustici and the modern-day Art Students League;the scandalous doings of the Dutch painters guild (Bentvueghels) in Rome and the antics of the Swedish sculptor Sergel. It also touches upon pre- and postwar banquets in Paris,Futurist and Dadaist gatherings, and the socializing of the New York School.
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Russell, Ian. "Michael Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), ISBN 0 7546 3281 4 (hb), 0 7546 3282 2 (pb)." Twentieth-Century Music 2, no. 2 (September 2005): 309–12. http://dx.doi.org/10.1017/s1478572206230299.
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For those of us who have lived with and through the second British folk music revival, it seems most apt that this important chapter of our lives should merit a serious academic history. We watched and were part of a radical youth movement that grew phenomenally in the late 1950s, burgeoned in the 60s, stumbled and stagnated through the 70s, but recovered its composure to mature in the late 80s; and now, half a century on, the fruits of this movement have become an established and significant part of the nation’s soundscape, as much a part of British culture as brass bands or choral singing. Much work has been and is being done to document every twist and turn of this revival, meticulously noting the key players, the setting up of clubs and festivals, broadcasting and recording developments, and so on; and, understandably, there is a welter of data on which to draw, including key witnesses to consult. One could argue that such histories are primarily of interest to the insider. But Brocken’s study, by contrast, attempts to take the view of the outsider, analysing the political agenda of the ‘revival’s’ architects and assessing its impact in terms of cultural studies as an aspect of popular music – in itself a most laudable enterprise.
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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (December 1, 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 contradictory reality in these places, being made up of individual, group interests, needs, establishment strategy and politics. To illustrate this phenomenon the paper presents the biggest festivals and spectacles in Serbia and SE Europe: EXIT festival (Novi Sad) attracted thousands of techno and rock lovers with the participation of many famous bands; and the folk trumpet playing festival (Guča), which each summer for several decades has been attracting thousands of lovers of ethno sound to a fair-carnival atmosphere. This ethnological research stresses complex property divisions – lifestyle, music genres, political strategies, scene movements and economic interests.
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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum2-49.14.
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Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
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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 (September 18, 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 interviews with the organizers. Findings Cannabis festivals in Amsterdam, Berlin, Rome and Athens have common features but also maintain and reproduce local, social and cultural characteristics. Cannabis festivals, as well as their attendees, represent heterogeneous categories. The style of the festival – music festival or march combined with music – affects the main reason for attendance by the participants. In cannabis festivals more similar to music festivals the majority of the respondents attended for entertainment while at the cannabis festivals in the form of a march combined with music the majority attended for protest. Furthermore, increasing age, residency and the high frequency of cannabis use are factors that led the participants to attend for protest. Originality/value The research on cannabis festivals is limited. This paper not only explores the aims of cannabis festivals in four capital cities of Europe and the characteristics of their attendees including motivations, but also offers interesting insights for understanding the ways in which political and social constructions like cannabis festivals shape attitudes, perception and behaviors around cannabis use.
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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 (December 25, 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 how participants at three major British outdoor music festivals and a small rural free party scene draw on discourses of freedom, escape and regulation. We argue that major music festivals operate as temporary bounded spheres of ‘licensed transgression’, in which an apparent lack of regulation operates as a form of governance. In contrast, free parties appear to ‘achieve the impossible’ by creating alternative (and illegal) spaces in which both freedom and regulation are constituted in different ways compared to music festival settings.
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KIGULI, SUSAN NALUGWA. "Audience Perspectives on the Music Festivals Phenomenon in Buganda." Matatu 42, no. 1 (2013): 65–78. http://dx.doi.org/10.1163/9789401210584_006.
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Klett, Joseph. "Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport." Contemporary Sociology: A Journal of Reviews 46, no. 4 (June 19, 2017): 496–97. http://dx.doi.org/10.1177/0094306117714500vv.
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Gligorijević, Jelena. "Nation Branding in Two Major Serbian Music Festivals, Exit and Guča." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 94–120. http://dx.doi.org/10.1525/jpms.2021.33.1.94.
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This article looks into the nation branding phenomenon surrounding two major Serbian music festivals, Exit and Guča, in the post-Milošević era. The departure point of analysis is the once-dominant national identity narrative of Two Serbias, by which Exit (as a purveyor of Western-style popular music) and Guča (as the self-proclaimed guardian of the Serbian brass-band tradition) were pitted against one another as representatives of Two Serbias, one looking towards the West, and the other towards the East. Moving away from this obsolete model of interpretation, this article examines the effects that the inception of nation branding in Serbian public discourse has produced on the local perception of each festival as well as on Serbian national identity within the broader contexts of post-socialist transition, the EU integration, and globalization. It also analyzes the ways in which the principles of market economy and branding practice are being “bastardized” in both festivals, resulting in what Mladen Lazić (2003) calls normative-value dissonance. Nation branding has forged a more unified view of Exit and Guča as national brands that ostensibly improve the international image of the country but which in reality deplete both festivals of their initial cultural and political potency. Ultimately, however, the proof of normative-value dissonance in Exit and Guča supports the argument that nation branding in these two festivals feeds back into earlier Balkanist discourse on Serbia’s indeterminate position between West and East; and it does so in a way that provides little hope for alternative visions of the nation’s future.
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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 (February 11, 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 for music festival attendees who are Deaf or disabled? What do representatives of the UK live music industry consider as the role of ICT to increase accessibility for music festival attendees who are Deaf or disabled?Design/methodology/approachPrimary research focused on supply-side considerations with a sample group of 10 UK live music industry professionals. The scope of the research was limited geographically to England and by artform to open-air music festivals, venues which host some music festival provision and a Sector Support Organisation. Open questions elucidated qualitative information around; awareness of accessibility and inclusivity initiatives; potential for co-creation; non-digital improvements; current technological influences; and potential digital futures for accessible “live” experiences. A conceptual framework was constructed and semi-structured face-to-face interviews were carried out with six respondents, and four respondents completed a structured, self-administered e-mail questionnaire.FindingsFindings include: ICT can facilitate enhanced dialogue with existing and potential audience members who are Deaf or disabled to both; reduce existing social exclusion (Duffy et al., 2019) and improve the visitor experience for all attendees. All respondents agreed that physical enhancements are important and some mentioned communications and customer care. Respondents reported increasingly ambitious usages of ICT at music festivals, which may support suggestions of a virtual experience trend (Robertson et al., 2015). Online ticketing systems have potential to grant equal functionality to people who are Deaf or disabled, as recommended by the Department for Culture, Media & Sport (2015). Respondents broadly welcomed the potential for positive impacts of ICT on increasingly accessible live experiences at music festivals which retained a sense of authenticity and “liveness”. Challenges around “as live” ICT-derived experiences were identified including risks of creating second-class experiences for Deaf and disabled attendees.Research limitations/implicationsThe limitations of this case study include the small sample size and limited scope.Practical implicationsPromoters should: consider further developing the co-creation of accessibility initiatives, utilising ICT to both deliver improvements and engage with potential audience members who are Deaf or disabled. Seek to pro-actively recruit staff members who are Deaf or disabled and significantly increase their programming of performers who are Deaf or disabled. Consider reviewing their ticketing processes for music festivals, to identify accessibility challenges for audience members and implement appropriate ICT-based solutions. Consider maximising accessibility benefits for audience members who are Deaf or disabled from existing ICT provision on site and explore additional bespoke ICT solutions at music festivals.Social implicationsAdopting the best practices described across the festival sector may improve inclusivity for disabled people at music festivals and other events. Event management educators should consider reviewing provision to ensure that best practice is embedded around accessibility for audience members who are Deaf or disabled. Additional public funding should be provided to drive ICT-derived improvements to accessibility for audience members who are Deaf or disabled at smaller-scale music festivals. Further research should be considered around inclusive approaches to digital experiences within a music festival environment for audience members who are Deaf or disabled and tensions between accessibility and notions of “liveness”.Originality/valueThe “snapshot” of digital aspects of accessibility at UK festivals within this research is of particular value due to paucity of other research in this area, and it's narrative from varied industry professionals. The paper makes recommendations to promoters, academics and public funders, to attempt to advance inclusion (or at least to mitigate current exclusion) and identify directions for future research into accessible digital experiences at music festivals for people who are Deaf or disabled.
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Lawendowski, Rafał, and Tomasz Besta. "Is participation in music festivals a self-expansion opportunity? Identity, self-perception, and the importance of music’s functions." Musicae Scientiae 24, no. 2 (August 28, 2018): 206–26. http://dx.doi.org/10.1177/1029864918792593.
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A correlational study was conducted among attendees of three music festivals in Poland ( N = 828). The main goal was to examine how functions ascribed to music are related to (a) a feeling of being united with other attendees, (b) the perception of being independent from or (c) interdependent with other attendees, and (d) a feeling of self-growth resulting in self-expansion. Using structural equation modelling, we showed the following. First, people who feel stronger connections and experience more personal relationships with other attendees report a stronger feeling of self-growth during music festivals and ascribe more importance to the social functions of music. Second, a strong, direct relationship exists between independent self-construal (i.e., an individualistic view of the self as autonomous from other people) and the self-awareness function of music as well as between interdependent self-construal (i.e., a more collectivistic view of the self as embedded in the group and community) and the social function of music. Finally, the results of the mediation analysis of self-expansion for the relationships between different aspects of self and the functions of music indicated that self-expansion is a statistically significant partial mediator of these relationships for the social and self-awareness function of music but not for the emotional function. That is, participants, who experienced changes in self-construct related to self-growth and self-development from their participation in a music festival used music to facilitate self-awareness and social relatedness.
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Hannick, Christian. "Reference materials on Byzantine and Old Slavic music and hymnography." Journal of the Plainsong and Mediaeval Music Society 13 (November 1990): 83–89. http://dx.doi.org/10.1017/s0143491800001343.
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One of the reasons for the neglect of Byzantine music, liturgy and hymnography within medieval studies undoubtedly lies in the difficulty of comprehending the special terminology. The indices in general accounts such as A History of Byzantine Music and Hymnography by Egon Wellesz (Oxford 1/1949, 2/1961), a work still not surpassed, help only those who are already acquainted with the liturgical practice of the Orthodox Church to find a way into the subject. The booklet by Dimitri Conomos, Byzantine Hymnography and Byzantine Chant (Brookline 1984), which is much more modest in scope, constitutes a suitable introduction. We may therefore applaud the initiative of the Greek scholar Georgios Bergotes, professor at the Ecclesiastical Academy in Thessalonika and author of several works in the area of liturgy and church music, who has compiled a Λεξικò λειτουργικν κα τελετουργικν ὅρων (Lexicon of liturgical and teleturgical terms, Thessalonika 1988). In this introduction to teleturgy Bergotes offers a definition of the two terms liturgy and teleturgy as conceived by the Orthodox Church, which help understand the aims and methods of compilation of the lexicon: ‘In the discipline of liturgy the services and festivals of the orthodox rite are investigated from a historical, archeological and theological standpoint, while the discipline of teleturgy engages the same services or festivals from the practical point of view and in their technical aspects.’
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Adrover, Lauren. "REFASHIONING CHIEFTAINCY IN GHANA: FESTIVAL DRESS, CORPORATE SPONSORSHIP AND NEW LOGICS OF VALUE." Africa 85, no. 4 (November 2015): 635–55. http://dx.doi.org/10.1017/s0001972015000522.
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ABSTRACTAnnual festivals in Ghana celebrate the agricultural harvest and commemorate the political authority of local chiefs. Today, multinational corporations such as Guinness, MTN and Vodafone sponsor almost all aspects of festival production. Sponsor participation has transformed festivals into sites saturated with images of commodities and corporate brands. While some chiefs support corporate participation, others deplore sponsors, who they perceive as threatening chiefs' control over the festival arena. A critical medium through which chiefs police and participate in discourses about cultural and political legitimacy is dress: chiefs clothe members of their entourages alternatively in T-shirts with corporate logos and T-shirts with images of chiefs. During festivals, chiefs orchestrate embodied practices to assert new claims to their political authority based on the nobility of their lineage or their participation in global economic networks. Through an exploration of contemporary dress practices, I argue that what is at stake in corporate-sponsored festivals is the emergence of new logics of value that challenge people to reassess the social and economic relations that underlie the production of political power in Ghana.
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Clayton, Diana. "Volunteers’ knowledge activities at UK music festivals: a hermeneutic-phenomenological exploration of individuals’ experiences." Journal of Knowledge Management 20, no. 1 (February 8, 2016): 162–80. http://dx.doi.org/10.1108/jkm-05-2015-0182.
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Purpose – This paper aims to explore how and why volunteers share knowledge and engage in other related knowledge activities. The paper offers an interpretation of participants’ multiple realities to enable a better understanding of managing volunteer knowledge, which ultimately underpins organisational performance and effectiveness. Design/methodology/approach – A qualitative, hermeneutic phenomenological study of volunteers (n = 28) at UK music festivals was conducted through in-depth interviews (n = 9), diaries (n = 11) or both (n = 8). This interpretivist approach adopted purposive sampling to recruit participants through (social) media. Findings – The findings illustrate how and why volunteers share knowledge that is attributed to a successful process of volunteering, which enables effective knowledge management and knowledge reproduction. Where volunteers’ motivations are satisfied, this leads to repeat volunteering. Knowledge enablers and the removal of barriers create conditions that are conducive for knowledge sharing, which have similar characteristics to conditions for continuance commitment. Where volunteers do not return, the organisation leaks knowledge. Research limitations/implications – Although high-quality research standards were maintained, participant self-selection may result in overly positive experiences. Future research might explore the impact on knowledge sharing of negative volunteering experiences. Practical/implications – Practical recommendations include factors that contribute to effective volunteer co-ordination and volunteering experiences, which are enablers for knowledge sharing. These fall within two categories, namely, areas for continuance (i.e. those aspects that should be maintained because they contribute to effective volunteer co- ordination and experiences) and areas for improvement (i.e. those aspects of volunteer co-ordination that are either currently lacking or require development or enhancement). Originality/value – This paper’s original contribution is demonstrated through the use of hermeneutic phenomenological methods in the exploration of individuals’ perspectives of knowledge sharing in the context of temporary organisations. This paper provides value to academics studying knowledge management and volunteer management, and practitioners managing volunteers.
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Suan, Chong Lee. "Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?" GATR Global Journal of Business Social Sciences Review 3, no. 3 (August 23, 2015): 24–31. http://dx.doi.org/10.35609/gjbssr.2015.3.3(3).
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Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Findings - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Novelty - This study attempts to disclose the grounds and rationales behind the persistence of the Dusun Tindals in upholding their ancient musical essence until today Type of Paper - Empirical Keywords: Bamboo Orchestra; Dusun Tindal Contemporary Music; Dusun Tindal Music
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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 (January 15, 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 attracted international tourists, artists faced bureaucratic challenges to legally traverse the Florida Straits and create music in the context of intercultural dialogue. Despite these difficulties, Havana as a festival space encouraged musicians to defy genre conventions, explore cultural commonalities, and negotiate social differences on stage during the Havana Jazz Plaza Festival. These transnational interactions culminated in Arturo O'Farrill's album Cuba: The Conversation Continues, which was recorded by US and Cuban musicians in Havana during the 2014 jazz festival and is characteristic of festival exchanges in its representation of a more harmonious international relationship.
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Springer, D. Gregory, and Kelly D. Bradley. "Investigating adjudicator bias in concert band evaluations: An application of the Many-Facets Rasch Model." Musicae Scientiae 22, no. 3 (March 1, 2017): 377–93. http://dx.doi.org/10.1177/1029864917697782.
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Prior research indicates mixed findings regarding the consistency of adjudicators’ ratings at large ensemble festivals, yet the results of these festivals have strong impacts on the perceived success of instrumental music programs and the perceived effectiveness of their directors. In this study, Rasch modeling was used to investigate the potential influence of adjudicators on performance ratings at a live large ensemble festival. Evaluation forms from a junior high school concert band festival adjudicated by a panel of three expert judges were analyzed using the Many-Facets Rasch Model. Analyses revealed several trends. First, the use of assigning “half points” between adjacent response options on the 5-point rating scale resulted in redundancy and measurement noise. Second, adjudicators provided relatively similar ratings for conceptually distinct criteria, which could be evidence of a halo effect. Third, although all judges demonstrated relatively lenient ratings overall, one judge provided more severe ratings as compared to peers. Finally, an exploratory interaction analysis among the facets of judges and bands indicated the presence of rater-mediated bias. Implications for music researchers and ensemble adjudicators are discussed in the context of ensemble performance evaluations, and a measurement framework that can be applied to other aspects of music performance evaluations is introduced.
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McGuire, Charles Edward. "John Bull, Angelica Catalani and Middle-Class Taste at the 1820s British Musical Festival." Nineteenth-Century Music Review 11, no. 1 (June 2014): 3–31. http://dx.doi.org/10.1017/s1479409814000135.
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This article examines the contentious relationship between the prima donna Angelica Catalani and the British musical festival in the 1820s. The inclusion of Catalani, the most famous soprano of her generation, at the great musical festivals in this decade, such as those of Birmingham, York, Derby and Manchester, among other places, was a sign of the aspects of spectacle festival producers thought necessary to capture the middle-class audience. At the time, contemporaries assumed this audience was increasing in number and importance. Catalani attempted to use her fame to dictate musical and aesthetic terms to festival committees, particularly by transposing arias within performances of Handel'sMessiah, and interpolating Italian sacred music by Pietro Carlo Guglielmi and Pio Cianchettini into the same. The British musical press responded by invoking the figure John Bull to roundly condemn Catalani: the allegorical everyman, crying ‘cant’ and ‘humbug’ was used to portray the singer as a tasteless and ‘foreign’ other while at the same time forwarding the education of the middle-class audience into aspects of the nascent concept of ‘the composer's intentions’. The condemnation of Catalani was also an attempt to integrate the middle classes into the cultural life of Britain, while denigrating the purported taste of the British aristocracy, which made star turns such as Catalani's possible.
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Purdue, Derrick, Jörg Dürrschmidt, Peter Jowers, and Richard O'Doherty. "DIY Culture and Extended Milieux: LETS, Veggie Boxes and Festivals." Sociological Review 45, no. 4 (November 1997): 645–67. http://dx.doi.org/10.1111/1467-954x.00081.
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The wave of DIY culture and environmental innovation sweeping through the UK is not restricted to isolated sites of high profile protest, such as the Newbury bypass. Based on fieldwork in the South West of England, consisting of in-depth interviews, participant observation, focus groups and a postal survey, we argue that networks such as those around festivals, LETS and organic food box schemes contribute to green milieux, which encourage ecological and cultural innovation of everyday life. We suggest that this creative social and ecological margin may be viewed as extended milieux combining global and local aspects. Local social relations and identities are reconfigured in new reflexive ways that utilize, criticise and even contribute to globalization, while developing new senses of locality and community.
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Cannon, James W., and Alinka E. Greasley. "Exploring Relationships Between Electronic Dance Music Event Participation and Well-being." Music & Science 4 (January 1, 2021): 205920432199710. http://dx.doi.org/10.1177/2059204321997102.
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While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. Two studies were implemented. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues.
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Green, Yvette. "Examining the Visitor Profile and Event Characteristics of a Festival." Events and Tourism Review 1, no. 1 (December 29, 2018): 35–45. http://dx.doi.org/10.18060/22785.
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Festivals and special events serve as important attractors for destinations and provide unique experiences for visitors. The purpose of the study examined the visitor profile and event characteristics of the 2015 Louisiana Seafood Festival. Food and beverage and music were the top rated aspects of the festival most important to the attendee. Results showed that the festival made a valuable contribution by attracting nearly 56,000 attendees. The visitor profile provided valuable information on visitor characteristics, event characteristics, and visitor spending. The event organizers can use the visitor profile for marketing and advertising efforts to attract more patrons to the festival.
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Seter, Ronit. "Jerusalem and Tel-Aviv: Different News from Israel (or, One More Step Toward Peace) — Three Contemporary Music Festivals." Tempo 59, no. 233 (June 21, 2005): 46–51. http://dx.doi.org/10.1017/s0040298205210239.
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When a Western musician thinks of Israel, the immediate association is of incessant political conflict and terrorism, not the country's rich cultural life. Yet, for a state that has endured one terrorist outrage after another over the last four years, Israel's thriving contemporary music scene — a part of classical music events, blossoming with over 2,300 classical concerts a year — is an astounding feat. In March 2002, while biweekly suicide attacks ended the lives of over 120 Israeli civilians, concert halls were unbelievably full despite the fear, or perhaps just because of it, as a constructive escapism. A year later, still under shaky political and economic conditions, Avigail Arnheim, the director of music events at the Tel-Aviv Museum of Art, and Dan Yuhas, the newly-elected chair of the Israel Composers' League (and the music director of the Israel Contemporary Players) initiated preparations for three concurrent festivals of contemporary music in October 2004. A Western musician, not knowing the details, would think that they were planning events for Berlin and Munich audiences, and not for Tel-Aviv and Jerusalem listeners.
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Sanga, Imani. "Postcolonial Cosmopolitan Music in Dar es Salaam: Dr. Remmy Ongala and the Traveling Sounds." African Studies Review 53, no. 3 (December 2010): 61–76. http://dx.doi.org/10.1017/s0002020600005679.
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Abstract:This article concerns Dr. Remmy Ongala, a Congolese-Tanzanian musician, and the making of postcolonial cosmopolitan music in Dar es Salaam, Tanzania. It argues that Dr. Remmy's music is shaped by the postcolonial consciousness and conditions of contemporary Tanzania. It also shows Dr. Remmy's cosmopolitan citizenship in his songs that address political and social issues. Focusing on his involvement in worldbeat festivals, it argues that he, like other musicians, enters into the worldbeat system not as a fully autonomous individual but as a constituted postcolonial subject, compelled to shape his music in accordance with the demands of the worldbeat system.
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Gibson, Lisanne. "Cultural development meets rock and roll (or what government can learn from pop music festivals)." International Journal of Cultural Policy 7, no. 3 (September 2001): 479–92. http://dx.doi.org/10.1080/10286630109358157.
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Byrnes, Joseph F. "Celebration of the Revolutionary Festivals under the Directory: A Failure of Sacrality." Church History 63, no. 2 (June 1994): 201–20. http://dx.doi.org/10.2307/3168588.
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The French Revolutionary festivals were planned as ritualized celebrations (speeches, tableaux, parades/processions, and music) of a revolutionary myth (new nation, elect community, pantheon of political heroes) with strong resemblance tothe traditional myth and ritual celebrating creation and redemption. This myth and ritual in the case of theweekly festivalswas then placed on a day set aside in the same fashion as previously Sunday had been set aside, mythologized, and ritualized. Under the Directory government, however, the festival celebrations went into steep decline, and only the Commemorationof 14 July survived the revolutionary decade. Even so, almost twenty years ago, in a brilliant and all-encompassing essay that has become the reigning paradigm, Mona Ozouf argued that the experience of the sacred central to the Old-Regime Catholic feasts was transferred to the revolutionary festivals, and from the revolutionary festivals to the revolutionary (and post-revolutionary) government. In a chapter entitled “Popular Life and the Revolutionary Festival” she presented evidence that popular religious sentiment (love of bells, crucifixes, Maypoles, and so on) remained alive and well; and in a chapter entitled “The Revolutionary Festival: A Transfer of Sacrality,” evidence that fundamental humanconcerns (biological, social, and civic) once alive in a religious context lived on in a political context.
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Sharpe, Erin K. "Festivals and Social Change: Intersections of Pleasure and Politics at a Community Music Festival." Leisure Sciences 30, no. 3 (May 2, 2008): 217–34. http://dx.doi.org/10.1080/01490400802017324.
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Saxe, Lorena Leigh. "Sadomasochism and Exclusion." Hypatia 7, no. 4 (1992): 59–72. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00718.x.
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Should Lesbian and women's events have policies banning sadomasochists or sadomasochistic acts? This question is being heatedly debated in the Lesbian community. In this paper, 1 examine the moral and political problems with sadomasochism from a Lesbian-feminist perspective, concluding that sadomasochism is antifeminist and antih'beratory for many reasons. Then, given this conclusion, I explore how events such as women's music festivals should determine their policies about sado-masochism.
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Ponomarenko, Olena. "“Wagner Festival Ravello” as a Sociocultural Phenomenon of the Festival Process in Italy." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 183–96. http://dx.doi.org/10.31318/2522-4190.2021.130.231270.
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The relevance of the issue is due to the need to consider Italian music festivals as a component of national culture, to summarize their experience, which is important for musical life in general and for Ukraine in particular.The purpose of the article is to identify the prerequisites for the origin, the development process, as well as the modern vector of functioning of one of the most authoritative festivals in the south of Italy “Wagner Festival Ravello”, the 68th season of which took place in 2020.The scientific novelty lies in the fact that for the first time in Ukrainian art history, Italian music festivals are considered as an organic, artistic and economic component of the national culture, their traditional and innovative features are noted, and prospects for further development in the musical life of modern Italy. A detailed analysis of the Wagner Festival in Ravello will contribute to the dissemination of Italian experience for the organization and conduct of musical projects in Ukraine.The research methodology is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of a set of complementary research methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of musical life in modern Italy.Main results and conclusions. “Wagner Festival Ravello” is developing and constantly improving its capabilities. The high professional level of the international festival has been maintained for many years, and this is done thanks to the coordinated management of everyone involved in the organizational process. It should be noted that there is significant support from public authorities, as well as investments from the business sector. Within the framework of a modern project, there are creative scenes created using innovative technologies, orchestra of the Teatro San Carlo, the recording studio, the festival magazine — all these components of systemic activity are interconnected and aimed at ensuring an impeccable result. The Ravello Foundation has been leading and constantly developing the project for almost 20 years in order to represent the city of Ravello internationally as one of the cultural centers of the Campania region. Further creative life and the success of the festival require cooperation of cultural, financial, state institutions, constant technological renewal — everything that will allow the world to demonstrate the historical and artistic monuments of the City of Music and preserve the Wagner Festival of Ravello for future generations as an Italian cultural brand. Prospects for further research in this direction are: first, in a thorough study of the specifics of the functioning of music festivals in modern Italy and coverage of various aspects of the organization of this process; secondly, in the analysis of cooperation between the cultural, financial, tourism sectors, which affects the high level of organization and long-term creative life of festival events; thirdly, in considering the control system by the state, which should always be focused on professional support and represent the most important component of the functioning of art projects. All of the above will help domestic musicians learn about the specifics of organizing music festivals in Italy, as well as adopt and use it in the practice of musical life in modern Ukraine
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Berger, Lawrence M. "The Emotional and Intellectual Aspects of Protest Music." Journal of Teaching in Social Work 20, no. 1-2 (June 23, 2000): 57–76. http://dx.doi.org/10.1300/j067v20n01_05.
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Piotrowski, Grzegorz. "Jarocin: A Free Enclave behind the Iron Curtain." East Central Europe 38, no. 2-3 (2011): 291–306. http://dx.doi.org/10.1163/187633011x597216.
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AbstractJarocin in Poland is usually associated with one of the biggest rock festivals behind the Iron Curtain. It was not only a birthplace of many music groups in the 1980s, but also an enclave of freedom in communist Poland. It was a place where young people could manifest their music and fashion tastes, listen to their favorite bands and enjoy few days of relative freedom. This article highlights the main events in the history of the festival and also tries to assess its significance for the broader political and cultural life of Poland in the 1980s. It also looks at the role the festival played in the creation of youth subcultures and in catalyzing political changes in “late socialist” Poland.
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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 (December 31, 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 commitment to jazz, Graz as a jazz centre and the institutionalisation of jazz at the Academy of Music in Graz in 1965, the role of the Austrian broadcasting network (ORF), and the impact of the Vienna Art Orchestra. In addition to archival records and musicological and journalistic texts, interviews conducted with members of different parts of the jazz scene offer important insights into the development of jazz during this period (with musicians, ensembles, educators and researchers, festival and venue organisers, agencies and policy makers, members of the media). This article offers an overview of pertinent aspects of the Austrian jazz scene between 1960 and 1980, revealing opinions about the influence of these aspects on the formation of Austrian jazz identity.
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Street, John. "‘Fight the Power’: The Politics of Music and the Music of Politics." Government and Opposition 38, no. 1 (2003): 113–30. http://dx.doi.org/10.1111/1477-7053.00007.
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AbstractPopular music has a long and varied association with politics. It has provided the soundtrack to political protest and been the object of political censorship; politicians have courted pop stars and pop stars — like Bono of U2 — have acted as politicians. But although these more familiar aspects of pop's connections to politics have been noted in passing, they have not received a great deal of academic attention, and there are other aspects of the relationship — the state's role as sponsor of popular music, for instance — which have been largely ignored. This article explores the various dimensions of the interaction between popular music and politics, and argues that the study of music can contribute to our understanding of political thought and action.
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Pope, Stephen Travis. "Web.La.Radia: Social, Economic, and Political Aspects of Music and Digital Media." Computer Music Journal 23, no. 1 (March 1999): 49–56. http://dx.doi.org/10.1162/014892699559643.
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Lentz, Carola, and Trevor Wiggins. "‘Kakube has come to stay’: the making of a cultural festival in Northern Ghana, 1989–2015." Africa 87, no. 1 (January 27, 2017): 180–210. http://dx.doi.org/10.1017/s0001972016000759.
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AbstractIn Ghana, cultural festivals, usually initiated and organized by the chiefs, provide public arenas where local and regional political elites voice demands vis-à-vis central government, and where national politicians canvass for support. Festivals offer commercial opportunities, forums to promote ‘development’, and occasions for entertainment. Yet advocating for ‘our own culture’ stands out as their very raison d’être, offering a frame for cultural entrepreneurs to organize performances that express and reconfigure local styles of music and dance to fit national formats. In this article, we examine such processes of cultural creation for the Kakube Festival in Nandom, a paramount chiefdom in north-western Ghana. We analyse the cultural building blocks and their evolution during the festival's history as well as the context of changing national politics of cultural heritage in which the festival developed. We discuss the invention of a cultural festival to create local alliances and stake claims at the regional and national political level, and how the desire to assert a presence in the national political and cultural arena has transformed the ways in which local culture is defined and presented. We examine the tensions at the heart of such an event, where traditions of chiefly patronage and allegiance meet the requirements of modern political and bureaucratic systems of funding, and the criteria of excellence in cultural performance. Music and dance are essential components and we analyse the evolution and adaptation of these elements alongside the critical path management of the event that has led to its local and national profile.
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Sveschynska, Natalia. "FORMATION OF CREATIVE-PERFORMANCE SKILLS OF FUTURE TEACHERS OF MUSIC ART IN THE PROCESS OF INSTRUMENTAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 133–37. http://dx.doi.org/10.36550/2415-7988-2020-1-190-133-137.
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The level of professional qualification of a music art teacher is especially evident at the stage of creative and performing activities, when the synthesis of pedagogical and creative-performing components of activity allows to achieve the artistic influence of musical art on the individual. Analysis of the activities of music teachers of different levels of skill reveal the unity of pedagogical and creative- performing aspects of skill, their equivalence and complementarity in achieving teacher interaction with students. It is extremely important to reveal the original features of the national musical art (performance, creativity), education in the context of all the real preconditions, trends, factors of their development. There is a growing interest in theoretical and methodological issues of pedagogy and performance in each of the professional music fields. Improving the instrumental and performing training of young professionals, their active involvement in the system of pedagogical activity is a complex dialectical process, which is manifested in various forms of performing skills. The most important component of a musician's professional development is perfect musical and performance training. Various aspects of this process (physiological, psychological and pedagogical, etc.) are studied in the works of Yu. Bay, V. Bilous, E. Yorkina, E. Gurenko, M. Davydov, V. Knyazev, V. Razhnikov, V. Samitov, G. Tsypin etc. Important didactic principles of music teacher's knowledge development are the young teacher's own creative, aesthetic and professional self-improvement, supplementing the personal information and methodological base, creating an individual mobile system of effective pedagogical knowledge and skills that meet specific tasks. Attending concerts of academic music, opera and musical-dramatic performances, etc. (together with students, colleagues, independently); instrumental music, group singing; acquaintance with new musical works of various forms, genres, styles; training and performance as a performer (performers) at local, regional and other conferences, festivals, concerts, performances, etc. actively contribute to the creative self-improvement of the music teacher.
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Carnà, Katiuscia. "Dance and Music in the Bangladeshi Diaspora in Italy. The Identity Links forged by Musical Education." Studia Migracyjne – Przegląd Polonijny 46, no. 3 (177) (2020): 101–12. http://dx.doi.org/10.4467/25444972smpp.20.033.12597.
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The purpose of this project was to investigate, as part of an explorative-type research project, whether art – in this case music and dance – can act as a tool capable of favouring social integration within modern intercultural and multi-religious social contexts, while, at the same time, fostering cohesion between the members of Italy’s largest Bangladeshi community, that of Rome. The researcher chose a qualitative methodological approach, grounded in participant observation of social, political Bangladeshi events and religious Festivals held in Rome, as well as investigation of lessons in singing, instrumental music and private dancing lessons conducted by the Sanchari Sangeetayan School and promoted by the new generations of Bangladeshi resident in Rome.
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Devenport, Scott P., and Adrian C. North. "Predicting musical taste: Relationships with personality aspects and political orientation." Psychology of Music 47, no. 6 (August 13, 2019): 834–47. http://dx.doi.org/10.1177/0305735619864647.
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Based on their meta-analysis, Schäfer and Mehlhorn argue that the weak relationships identified indicate that personality is a poor predictor of musical taste. The present research challenged this by measuring personality aspects rather than the Big Five domains and also political orientation. A sample of 157 university students aged 17 to 55 years ( M = 24.60, SD = 7.63) completed measures of musical taste (Short Test of Musical Preference [STOMP-R]), personality (Big Five Aspects Scale [BFAS]), and political orientation (International Personality Item Pool [IPIP] Liberalism). Responses to the STOMP-R produced four factors, labeled Intense, Rhythmic, Established, and Mainstream music. Hierarchical multiple regression indicated that, in comparison to domains ( R2 range = .12–.23, p < .05), aspects of personality were better predictors of musical taste for three of four musical dimensions ( R2 range = .20–.28, p < .05). Both the aspect and domain models included political orientation. Conflicting correlational relationships within domains were responsible for weaker relationships at the domain level. Aspects of intellect, openness, assertiveness, compassion, politeness, and also political orientation were unique predictors of musical taste across the four dimensions. Personality aspects and political orientation were superior predictors of musical taste in comparison to personality domains. Future research should investigate these aspect-level relationships in more diverse samples.
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Flotzinger, Rudolf. "Postmodernism in music." European Review 6, no. 1 (February 1998): 45–51. http://dx.doi.org/10.1017/s1062798700002994.
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The relevance of the term ‘postmodernism’ to a discussion of the music of this century is examined. Postmodernism in music does not have any precise meaning but can be used to evaluate a number of aspects of contemporary music.
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Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82." Journal of the Gilded Age and Progressive Era 9, no. 2 (April 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.
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Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.
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Levy, Shimon. "‘How Are the Mighty Fallen’: Aspects of Contemporary Israeli Theatre." New Theatre Quarterly 6, no. 24 (November 1990): 382–94. http://dx.doi.org/10.1017/s0266464x00004966.
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Even at its most political, contemporary Israeli theatre tends to be self-referential – nowhere more so, suggests Shimon Levy, than in the theatre festivals held at Acre, where year by year over the past decade the plays selected seem to have reflected, more than coincidentally, the preoccupations of the nation, with its haunted past, its militaristic present, and a future full of uncertain or resented accommodations with neighbours for so long perceived as enemies. But Shimon Levy, who teaches in the Theatre Department at Tel Aviv University, also notes two exceptions in a generally gloomy theatrical scene: the exuberant entertainment Yanti Parazi – ‘a metaphor for the yearning for this screwed-up Holy Land’ – and a long-unperformed play on the ‘difficult’ subject of the West Bank occupation, Ephraim Returns to the Army, with its schitzoid title-character ‘deconstructing’ the conflicting elements of Israeli hopes and beliefs, for audiences not presumed to share the play's own progressive but unsentimentalized sympathies.
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Middleton, Alia. "‘For the Many, Not the Few’: Strategising the Campaign Trail at the 2017 UK General Election." Parliamentary Affairs 72, no. 3 (September 3, 2018): 501–21. http://dx.doi.org/10.1093/pa/gsy034.
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Abstract During the 2017 general election campaign, the Conservative and Labour leaders toured the country. While Theresa May operated a conventional approach, encapsulated by limited interactions with the public, Jeremy Corbyn participated in public rallies and appeared at music festivals. This article examines the strategic decisions underpinning leader visits in the 2017 campaign trail. It finds that May and Corbyn’s electoral strategies had more in common than at first sight. The article adds to existing studies by using new interview data from local party campaigners to understand visit organisation and impact on the local campaign. It also makes an important step towards unpicking the causal mechanism through which these visits may affect voter behaviour.
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Rustandi Mulyana, Aton, and Joko Suranto. "Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation." International Journal of Visual and Performing Arts 3, no. 1 (June 20, 2021): 22–32. http://dx.doi.org/10.31763/viperarts.v3i1.203.
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This article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creation
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McGowan, Margaret M. "The Arts Conjoined: a Context for the Study of Music." Early Music History 13 (October 1994): 171–98. http://dx.doi.org/10.1017/s0261127900001340.
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The conditions of artistic production in late sixteenth-century France required musicians and poets, composers and painters, choreographers and performers to work together. They shared the same objectives and they worked from the same aesthetic principles. Their common experience suggests that, as historians and analysts, we can enlighten the study of one art form – music or the dance, for example – by placing it within the context of others, assessing their interaction and their shared purpose. If this assumption is accepted we must consider issues of production, that is those practical matters concerning technique and the varied conditions of performance; we must examine the audience's expectations of those events which drew together the arts into a single spectacle or in a sequence of festivals and which relied for their inspiration on intellectual currents nourished through renewed acquaintance with ancient sources; and we need to assess the nature of the works themselves, their impact on the status of the artist (broadly defined), and on the social and political benefit for the patrons. There is inevitably much overlap across these three areas of production, expectation and outcomes, yet, in the discussion which follows, attempts will be made to keep them separate.
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Robertson, Alexander F. "Regeneration in Rural Catalonia." European Journal of Sociology 49, no. 2 (August 2008): 147–72. http://dx.doi.org/10.1017/s0003975608000064.
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AbstractThe efforts of rural communities around the world to survive in the face of economic and demographic decline dramatise the bio-cultural processes on which human regeneration routinely depends. This paper explores the very conspicuous symbolic aspects of regeneration in a village in Catalonia, Spain, and traces the long term physical and material processes that underlie them. Scrutiny of two different festivals reveals a passionate concern to renegotiate deeply fractured generational relationships. Having exported its fertility to the towns and cities, the community is now working to incorporate newcomers and devise new livelihoods. Public rituals have done much to sustain these efforts at regeneration, but how they may resist the “sterile growth” of Mieres as a village of mostly empty second homes is a provocative new issue.
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Faria, Erick de Oliveira, Victor Pouillaude, Valentine Crépel, and Manuella Biagioni Barbosa Teixeira. "Tourist Festivals and Territorial Development: a case study on the Jazz in Marciac Festival." Revista de Turismo Contemporâneo 8, no. 1 (April 30, 2020): 1–16. http://dx.doi.org/10.21680/2357-8211.2020v8n1id18098.
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From the year 1982, new possibilities were given to the spatial organization of the French territory. In these spaces, the actions of social groups are recognized. Therefore, the social group builds the territory but the environment in which it lives also influences it. This paper studies the case of the Jazz in Marciac festival as an example of territorial development associated with the dimension of the voluntary commitment of the population towards a common objective and a source of debate. This jazz festival takes place at the village of Gers, Marciac and is guided by the principles of popular education. Today it gives life to its territory through national and international recognition as one of the most recognized jazz festivals. This is why we decided to ask ourselves about the causes of success at the jazz festival in a French village. So the questions came out: what does this imply in terms of development at the scale of its surroundings? Why and how this festival contributed to authentic development to the extent of its territory. The territory of Marciac turned a music festival into a local development opportunity, by its strength for cultural tourism, the valuation of local heritage and the improvement of living conditions. So the festival has become a showcase for local productions and a driving force for regional planning, it improves cultural, social and economic aspects of its territory.
Keywords: Jazz Festival. Territory Development. Cultural Tourism. Popular Education.
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Suprapto, Suprapto. "The Theology of Tolerance in Hindu and Islam: Maintaining Social Integration in Lombok - Indonesia." Ulumuna 19, no. 2 (December 7, 2015): 339–52. http://dx.doi.org/10.20414/ujis.v19i2.358.
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This article seeks to examine the theology of tolerance as the basis for interreligious and harmonious co-existence between Muslims and Hindus in Lombok. Lombok is known as the island of thousand mosques where majestic mosques scatter throughout the island. But Lombok is also a home for Hindus. The interactions between them have been very dynamics, creating integration, acculturation, adaptation, accommodation while sometimes also triggering tension. This article argues that theology occupies important aspects in both Hindu and Muslim daily live and thus can be employed as the solid basis of interreligious relations between them. From the Islamic perspective, there are a number of Qur’anic verse injuctions for tolerance. Hindus are also required to maintain tolerant attitude towards other religions as this is commanded in the Veda. These theological grounds will strengthen from the faith point of view Hindu-Muslim social cohesion, which has so far been realized though various means, such as music, arts and religious festivals.
DOI: http://dx.doi.org/10.20414/ujis.v19i2.358
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Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.
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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies and bibliographies. Twenty-four compositions by native composers were published in the musical supplement of The Music Herald, among them the works of its editors as well as those of other Yugoslav musicians. The Music Herald dealt with three fields of interest: music historiography, ethnomusicology and the current topics of its epoch. When the magazine started, Serbian musicology was in its initial stage so the editors were trying to foster its development. They published numerous biographies of Serbian 19th century musicians, as well as documents on Serbian music culture during the reign of Prince Milos Obrenovic. Music folklore was also very often the subject of interest in the magazine. The Music Herald was interested in current topics and covered the Yugoslav music school system, opera houses, military music music associations, etc. It was especially interested in choral societies which in the course of the 19th century took up not only an artistic, but also a political and patriotic role in the liberation movement. After WWI choral societies entered a period of crisis. Their political raison d'?tre was lost, so they were faced with the challenge of achieving higher professional standards. This study deals with two aspects of 'The Music Herald': aesthetic and ideological aspects. In terms of ideology, the magazine was strongly in favor of the Yugoslav idea. Its correspondents (more then 40 of them) came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland). The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian). The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called 'national style' was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand fostering the 'national style' did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanovic were judged as 'drawing-room music'. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.
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Ferraz, Leidson Malan Monteiro de Castro. "CONTRIBUIÇÃO À HISTÓRIA DOS FESTIVAIS DE TEATRO NO BRASIL." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 124. http://dx.doi.org/10.18542/arteriais.v5i9.9821.
Full textAbstract:
ResumoPara colaborar com a investigação histórica, a proposta é reunir dados sobre os primeiros festivais de teatro no Brasil, partindo de uma certa trajetória temporal que vai dos festivais artísticos ainda em benefício aos eventos em reverência a autores, passando depois a ter o conceito moderno de reunião de atrações variadas em período e local constantes, além de atividades extras programadas. O artigo também presta homenagem àqueles que pioneiramente deram dinâmica à realização destes encontros festivos do teatro amador ou profissional de então, nos mais diversos pontos deste país, destacando aspectos de relevância social, cultural e política.AbstractAs to collaborate with the historical investigation, the present proposal gathers data regarding the first theatre festivals in Brazil, taking into consideration a time trajectory that varies from artistic festivals, which in benefit to the events in curtsy to authors, to concepts of modern attractions in constant different times and places, other than the extra programmed activities. This article also pays homage to those pioneers of a dynamic fulfillment of such festive gatherings in the realms of amateur and professional theatre of the period, ranging from diverse sites in the country taking into account social, cultural and political aspects.
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Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (April 13, 2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.
Full textAbstract:
The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.