Relevant bibliographies by topics / Rock music festivals

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

Academic literature on the topic 'Rock music festivals'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Rock music festivals"

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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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Tjora, Aksel. "The social rhythm of the rock music festival." Popular Music 35, no. 1 (November 30, 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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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 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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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 cont
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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 (September 29, 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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Oliveira Medeiros, Isabella, Simone Evangelista, and Simone Pereira de Sá. "Rock versus pop: symbolic disputes at Rock in Rio music festival." Arts and the Market 11, no. 2 (April 30, 2021): 136–46. http://dx.doi.org/10.1108/aam-09-2020-0043.

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PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates abo
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Brown, Alyssa E., Keith Donne, Paul Fallon, and Richard Sharpley. "From headliners to hangovers: Digital media communication in the British rock music festival experience." Tourist Studies 20, no. 1 (November 4, 2019): 75–95. http://dx.doi.org/10.1177/1468797619885954.

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Extant tourist experience literature focuses on ‘live’ space and time activity, while pre- and post-components are often neglected despite the opportunities offered by increasing use of digital media communication (DMC). Focusing especially on the pre-festival experience but also addressing peri- and post-phases, this study examines the role of DMC in tourists’ experiences at British rock music festivals. Interviews with festivalgoers revealed three core and inter-related themes: information, emotional response and communitas. Initial engagement with DMC enabled planning, generated feelings of
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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
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Brooks, Sarah, Alexandre Magnin, and Dan O'Halloran. "Rock On!: bringing strategic sustainable development to music festivals." Progress in Industrial Ecology, An International Journal 6, no. 3 (2009): 285. http://dx.doi.org/10.1504/pie.2009.031066.

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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.

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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary o
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Dissertations / Theses on the topic "Rock music festivals"

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Brooks, Sarah, Dan O'Halloran, and Alexandre Magnin. "Rock On! : Bringing strategic sustainable development to music festivals." Thesis, Blekinge Tekniska Högskola, Avdelningen för maskinteknik, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-3860.

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Recreational events gather large numbers of people in concentrated areas for brief periods of time. Effects of these events extend far beyond their spatial and temporal boundaries; a music festival is one such event. This paper asks, “What are some measures that can move music festivals strategically toward sustainability?” A framework for strategic sustainable development based on backcasting from sustainability principles is applied. Research draws on pertinent literature, interviews with festival organizers and an in-depth case study with International Music Concepts. Results indicate that
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Zabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.

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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden,
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Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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Thesis (Ph.D.)--University of Western Sydney, 2007.<br>A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
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Cummings, Joanne. "Sold out ! : an ethnographic study of Australian indie music festivals." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able
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Koski, Carina. "Musikfestivaler som turistiskt dragplåster : en fallstudie på Sweden Rock Festival." Thesis, Gotland University, Department of Business Administration, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-214.

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<p>Lately, more and more music festivals have emerged in Sweden. People’s desire and need to visit these events only seems to increase. Cultural tourism and music tourism has developed into a significant and important part of the experience industry and it employs more and more people within the tourism industry. The purpose of this paper is to investigate which effects this can have on the local community. Focus is held on the touristic and economic impact on the nearby municipality and region.</p><p>The paper is based on a case study on Sweden Rock Festival, which is one of Swedens largest m
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Umbelino, Ana Filipa Rosado. "A magnitude que os festivais de música, Rock in Rio, NOS Alive e Super Bock Super Rock têm para a hotelaria de 4 e 5 estrelas em Lisboa, Cascais e Oeiras." Master's thesis, Escola Superior de Hotelaria e Turismo do Estoril, 2018. http://hdl.handle.net/10400.26/24660.

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A relação entre eventos e turismo é verídica e sempre foi muito forte. Essa relação, que hoje adquire uma fenomenal importância económica, cultural e social, resulta do progresso e expansibilidade dos eventos, do fenómeno turístico e da cada vez mais a intrínseca ligação entre eles. Nos dias de hoje realizam-se todos os dias inúmeros eventos que reúnem milhares de participantes, uma parcela deles turistas nacionais e internacionais. Estes usufruem dos transportes rodoviários, aéreos e ferroviários, da hotelaria, restauração e outros serviços turísticos, contribuindo assim para a economia do tu
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Oliveira, Lize Antunes de. "Dos alto-falantes para a perpetuação da memória: o Rock in Rio e a nova experiência do entretenimento." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20211.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:44:42Z No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5)<br>Made available in DSpace on 2017-07-11T12:44:42Z (GMT). No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) Previous issue date: 2017-06-22<br>Entertainment occupies a privileged position in contemporary society, based on consumption and visibility, result of new socioeconomic and cultural dynamics, which the spectacle is one of its
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Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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ABDALA, Lorena Pompei. "Estéticas da existência: a moda nos Festivais de Rock (Goiânia Noise Festival e Lollapalooza Music Festival-2008/2009)." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2830.

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Made available in DSpace on 2014-07-29T16:28:01Z (GMT). No. of bitstreams: 1 ESTETICAS DA EXISTENCIA PART 1.pdf: 220939 bytes, checksum: 22ef569adbc52795342cfe83a7ff729d (MD5) Previous issue date: 2010-04-13<br>This dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates
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Pousár, Pauline. "Sweden Rock Festivalen, ett kulturellt och socialt fenomen?" Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-319739.

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Sweden Rock Festival is one of the biggest festivals in Sweden and its focus on rock music in its different forms keeps the audience coming back and keeps the festival going. Time and time again the festival is noticed as being one of the safer festivals based on the amount of reported assaults and reported accidents. The purpose of this paper is to try to find the reason why the Sweden Rock Festival is perceived as safe. Looking at our rules and regulations harassment, violent crimes and sexual predatory behaviour is more common on a city street in daylight than it is at the festival even if
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Books on the topic "Rock music festivals"

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Bašin, Igor. Novi rock: Rockovski festival v Križankah, 1981-2000. Maribor: Subkulturni azil, 2006.

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Robison, Greg. Ozzfest. New York: Rosen Pub. Group, 2009.

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Selevko, Andreĭ. "Rok-panorama - 86"... i ne tolʹko: Istoricheskie fotografii pervogo ofit︠s︡ialʹnogo moskovskogo rok-festivali︠a︡ : neizdannye arkhivy i︠a︡roslavskogo fotografa Andrei︠a︡ Selevko. [Place of publication not identified]: [publisher not identified], 2021.

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Gáncs, Dénes. A dallam diadala: A Táncdalfesztiválok története. Budapest: La Ventana, 2004.

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Cope-Faulkner, Paul. The nice people are here: Pop festivals in Lincolnshire. Heighington: Heritage Trust of Lincolnshire, 1999.

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Burgos, Beatriz María Goubert. Festival Rock al Parque: Ópera al Parque : memoria social 1995-2007. Bogotá: Orquesta Filarmónica de Bogotá, 2011.

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Fernando, Aceves, Cortés David, and Festival Iberoamericano de Cultura Musical (2007 : Mexico City, Mexico), eds. Vive latino, 2006-2007. [México, D.F.]: OCESA, 2007.

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Robison, Greg. Coachella. New York: Rosen Pub., 2009.

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Llano Macedo, Luis de, writer of foreword, Compeán, Justino, writer of supplementary textual content, and Rubli K., Federico (Rubli Kaiser), writer of supplementary textual content, eds. Yo estuve en Avándaro: 50 años. Ciudad de México: Trilce Ediciones, 2021.

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Stratone, Nelu. Rock în timpuri noi: [povestea fascinantă a anilor '90]. Timişoara]: Hyperliteratura, 2018.

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Book chapters on the topic "Rock music festivals"

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Machado, Annaelise Fritz, Bruno Sousa, Joice Lavandoski, Laurentina Vareiro, and Victor Figueira. "Music, Green Marketing and Sustainability Festivals: the Case of the Rock in Rio Tourist Event." In Festival and Event Tourism, 64–71. GB: CABI, 2022. http://dx.doi.org/10.1079/9781789248685.0007.

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Kramer, Michael J. "The Psychedelic Public and Its Problems: Rock Music Festivals and Civil Society in the Sixties Counterculture." In Media and Public Spheres, 149–61. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206359_12.

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Liberato, Dália, Elga Costa, Cláudia Moreira, Pedro Liberato, and Joaquim Ribeiro. "Sustainability Practices in Events’ Organization in Lisbon. Empirical Study of the Rock in Rio Music Festival." In Tourism, Travel, and Hospitality in a Smart and Sustainable World, 139–58. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26829-8_9.

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"ROCK FESTIVALS." In Music in the 20th Century (3 Vol Set), 536–37. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-399.

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Waksman, Steve. "Crowds, Chaos, and Community." In Live Music in America, 345–417. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570531.003.0008.

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Music festivals mattered to the larger development of American live music along multiple fronts in the two decades following the founding of the Newport Jazz Festival. Most saliently, festivals helped to push the business of live music more and more toward large-scale production, laying the groundwork for the arena and stadium rock economy. Because they so often had an aura of idealism surrounding them, however, music festivals could never be reduced to strictly commercial ventures. The combination of scale and singularity gave festivals the aura they would come to possess and made them flash points for contests over cultural values that coursed through the musical styles put on stage. This chapter traces the development of US music festivals from the establishment of the Newport Jazz Festival in 1954, to the Newport Folk Festival in 1959, and then into the era of the rock festival in the late 1960s. In jazz and folk alike—and in rock, where the influence of both would loom large—festivals came to stand for a host of tensions that characterized the social role of popular music in the post-war era.
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"Disseminating Popular Music: Pop and Rock Music Concerts, Festivals, and Shows." In Popular Music of Vietnam, 219–39. Routledge, 2008. http://dx.doi.org/10.4324/9780203892794-13.

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"A History of Japanese Rock Festivals and Live Music Venues." In Made in Japan, 155–72. Routledge, 2014. http://dx.doi.org/10.4324/9780203384121-18.

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Bowditch, Rachel. "Republic of the Imagination, Burning Man and the culture of radical self expression." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3020.

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Burning Man, it could be argued, is the best party on the planet and one of the most elaborate and complexly engineered. Where else could you have a dance party on a large duck where everyone is dressed as their fantasy avatars; or sit on an art car called ‘The Bleachers’ designed like stadium seating to watch and be watched, complete with referees in the standard black and white attire directing playa traffic; or mount a double-decker bus that resembles an underground rave in Eastern Europe; or dangle from cables as you smash your opponent to hard core punk rock at the Thunderdome; or find yourself at a large open-aired dance party with over 5000 people dancing to the world’s most famous DJs and electronic music acts such as Bassnectar and Beats Antique? Burning Man has elevated the art of partying to epic proportions from mobile niche environments to large-scale international acts drawing crowds of thousands. At Burning Man, you can create your own experience and any desire you might have can be found and fulfilled on the playa. It is as if everyone’s fantasy is being played out simultaneously and it is in the collision of these fantasies that meaningful encounters occur. However, to confine and reduce analysis of Burning Man to ‘the world’s best party’ would be to overlook the intricate complexity and layers that constitute this epic annual desert event. The evolution and history of the event has been well documented from a variety of perspectives (See Doherty, Bowditch, Chen, Gilmore, and others) so I will not repeat those histories here. The first official book to chart the history of the event was Brian Doherty’s This is Burning Man: The Rise of a New American Underground (2006) mapping the early formative years of the event from its inception in 1986 on Baker Beach in San Francisco, the impact of the Cacophony Society on the development of the Burning Man ethos, to the transfer of the event to the Black Rock Desert in Nevada in 1990.
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Laws, Chantal. "Responsible Entertainment Greening festivals and events." In Key Issues in the Arts and Entertainment Industry. Goodfellow Publishers, 2011. http://dx.doi.org/10.23912/978-1-906884-20-8-1453.

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This chapter explores the contemporary issue of responsible production within the arts and entertainment industries, focusing on live music events and festivals in particular. In its broadest context the entertainment industry is vast, encompassing 18 unique sectors (Moss, 2009), each providing a plethora of tangible and intangible products that, according to Vogel (2007), is estimated at US$1 trillion annually. This makes it the largest industry in the world, generating more revenue and growing at an exponential rate as leisure time becomes increasingly important as an escape from,or antidote to, the pressures of modern life. Live events bridge the distinction between high art products which are considered as a ‘merit good’ (Pratt, 2005) and forms of popular culture and leisure that can be consumed both at home and in designated public spaces. Hughes (2000) states that live performance of both art and entertainment is a distinct area for management, as such events require active participation on the part of an audience. As pop/rock consumers can now choose from ‘an almost limitless number of events’ (Mintel Group, 2008) at any given time, the viability of continued growth in the industry becomes of real concern, and the impact of such intense consumption levels can no longer be ignored.
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Zolten, Jerry. "“Loves Me Like a Rock”." In Great God A'Mighty! The Dixie Hummingbirds, 255–94. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0008.

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Abstract As rock ‘n’ roll evolved into the 1960s, gospel vocalizing and stagecraft continued to influence solo artists and vocal harmony groups that evolved from doo-wop to soul and Motown: Ray Charles, James Brown, Wilson Pickett, Aretha Franklin, the Miracles, the Temptations. The Dixie Hummingbirds and black gospel itself evolved against the backdrop of generational rebellion, civil rights unrest, war protest, and assassinations. The trend shifted from quartets to soloists and choirs, the gospel fan base broadening as the music became appreciated both as an art and as roots music form. President Kennedy was assassinated and in 1964, the Hummingbirds made their television debut on the program TV Gospel Time. They performed “Our Prayer for Peace” with a new verse about the assassination. The Hummingbirds adapted to the tastes of the times and remained Peacock’s most consistently bestselling gospel artists. Multiple tracks were recorded and strategically released as singles every few months followed by album collections. Robey sold the Peacock catalog to ABC records. The Hummingbirds had an international following and performed at venues such as Disneyland, Madison Square Garden, and both the Newport Jazz and Folk Festivals. Paul Simon invited the Hummingbirds to collaborate on “Loves Me Like a Rock,” which in their own rendition won them their first Grammy. They also recorded with Stevie Wonder. The Hummingbirds suffered a setback in 1976 with the death of bass singer William Bobo. They soldiered on and more than six decades into their career were dubbed the “Iron Men of Gospel.”
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Conference papers on the topic "Rock music festivals"

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Thongrom, Pimpika. "The effect of Music Festivals on Perceived Destination Images." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festiv
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