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Journal articles on the topic 'Rock music festivals'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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

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

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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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KARAMOY, Arindra Khrisna, Rudy HARJANTO, and Yunita SARI. "ANALYZING VOICE OF BACEPROT’S COMMUNICATION ACTIVITIES WITH THE ROCK MUSIC COMMUNITY." ICCD 5, no. 1 (November 27, 2023): 364–69. http://dx.doi.org/10.33068/iccd.v5i1.627.

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There has been interest in the Voice of Baceprot phenomenon. They received invitations to play at rock music festivals, and foreign media also wrote about them. This study aims to investigate the factors contributing to this band's appeal and acceptance among domestic and international rock music audiences, consisting of three young Muslim women wearing hijabs. The case study approach is used in this qualitative research technique. This study concludes that the identity of the Voice of Baceprot plays a significant role in boosting their acceptance and popularity in the rock music scene. In add

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Siles, David. "Social Sustainability in Music Festivals: The Case of Rock Imperium." International Journal of Social Sustainability in Economic, Social, and Cultural Context 20, no. 1 (2024): 83–100. http://dx.doi.org/10.18848/2325-1115/cgp/v20i01/83-100.

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Pielichaty, Hanya. "Festival space: gender, liminality and the carnivalesque." International Journal of Event and Festival Management 6, no. 3 (October 19, 2015): 235–50. http://dx.doi.org/10.1108/ijefm-02-2015-0009.

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Purpose – Contemporary outdoor rock and popular music festivals offer liminoidal spaces in which event participants can experience characteristics associated with the carnivalesque. Festival goers celebrate with abandonment, excess and enjoy a break from the mundane routine of everyday life. The purpose of this paper is to explore the way gender is negotiated in the festival space. Design/methodology/approach – The rock and popular music tribute festival, known as “Glastonbudget” provides the focus for this conceptual paper. A pilot ethnographic exploration of the event utilising photographic

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Bourdage, Monique. ""A Young Girls Dream": Examining the Barriers Facing Female Electric Guitarists." IASPM Journal 1, no. 1 (April 8, 2010): 1–16. http://dx.doi.org/10.5429/334.

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Critics who locate the instrument’s inaccessibility to women solely in its physical design overlook cultural reasons for the lack of great female electric guitarists. The same barriers that prevent women from succeeding in other male-dominated fields also apply to the electric guitar, such as a scarcity of role models, a lack of access to education, and the masculinization of prestigious technologies. Despite allusions to rebellion, rock ‘n’ roll often promotes traditional gender roles. This paper examines the creation of along with efforts to break down these barriers, which have included wom

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Orea-Giner, Alicia, Francesc González-Reverté, and Laura Fuentes-Moraleda. "Impacts of a health crisis on music festivals: a qualitative approach." International Journal of Event and Festival Management 13, no. 2 (January 4, 2022): 125–43. http://dx.doi.org/10.1108/ijefm-12-2020-0081.

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PurposeThis research explores the consequences of a health crisis provoked by a pandemic scenario on music festival impacts considered by the stakeholders involved. The purpose of this paper is to identify the perceptions from the stakeholders' point of view (host community, public and private sector) and to identify the impacts generated before and after a health crisis regarding the celebration of a festival.Design/methodology/approachThe study offers a holistic insight into impact research by music festivals. The methodology implemented is based on qualitative techniques. By conducting 20 i

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Zhabeva Papazova, Julijana. "Alternative Rock Music in Yugoslavia in the Period Between 1980-1991 and its Influence on the Present Musical and Cultural Life in Macedonia, Serbia and Croatia." IASPM Journal 4, no. 1 (November 17, 2013): 117–19. http://dx.doi.org/10.5429/673.

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Doctoral dissertation "Alternative rock music in Yugoslavia in the period between 1980-1991 and its influence on the present musical and cultural live in Macedonia, Serbia and Croatia" has five main chapters: Introduction; First chapter-Theoretical aspect of the dissertation; Second chapter-Alternative rock, definition, origin, development; Third chapter-Socio-cultural aspect; Fourth chapter-Music analyze; Fifth chapter-The influence of Yugoslav alternative rock into the musical and cultural live at the territories of Macedonia, Serbia and Croatia after 1991; Conclusion; Bibliography; Appendix

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Aşan, Kübra, Kerem Kaptangil, and Aysun Gargacı Kınay. "Mediating role of perceived festival value in the relationship between experiences and satisfaction." International Journal of Event and Festival Management 11, no. 2 (April 24, 2020): 255–71. http://dx.doi.org/10.1108/ijefm-11-2019-0058.

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PurposeThe purpose of this paper is to examine the mediating effect of perceived festival value on the relationship between satisfaction and experiences in the context of a music festival. The study presented herein also examined festival experiences based on the experience economy model.Design/methodology/approachA face-to-face survey was performed at the rock music festival Kuzey Fest in Sinop/Turkey, where 336 questionnaires were completed. The statistical analyses conducted to establish the relationship between experiences, perceived value and satisfaction comprised explanatory factor anal

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Kelman, Kristina, and David Cashman. "Industry-Based Popular Music Education: India, College Rock Festivals, and Real-World Learning." Journal of the Music and Entertainment Industry Educators Association 19, no. 1 (2019): 73–97. http://dx.doi.org/10.25101/19.3.

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Bialka, Szymon, Piotr Zagorski, Hanna Misiolek, Maria Legierska, Jacek Karpe, Ewa Podwinska, and Przemyslaw Jalowiecki. "Familiarity with first-aid rules by attendees at rock-music festivals in Poland." Resuscitation 82, no. 4 (April 2011): 492. http://dx.doi.org/10.1016/j.resuscitation.2010.11.025.

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Waksman, Steve. "Live Recollections: Uses of the Past in U.S. Concert Life <br> doi:10.5429/2079-3871(2010)v1i1.9en." IASPM Journal 1, no. 1 (April 8, 2010): 1–16. http://dx.doi.org/10.5429/325.

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As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1920s and 1930s, when early jazz concerts referenced the past to highlight the music's progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense

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Kurapov, Anton, and Mykhailo Kandykin. "CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (12) (2020): 52–56. http://dx.doi.org/10.17721/bsp.2020.2(12).9.

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This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective

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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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HRISTOVA-VLADI, Svetlana D. "ROSES, TOMATO CHUTNEY AND RISING SUN: ON VISIBILITY OF THREE FESTIVALS IN BULGARIA." ANTHROPOLOGICAL RESEARCHES AND STUDIES 13, no. 1 (2023): 152–73. http://dx.doi.org/10.26758/13.1.10.

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Objectives. This study focuses on the visibility of three local festivals in Bulgaria: Rose Festival in Kazanlak, July Morning at Kamen bryag and the Festival of Peppers, Tomatoes, Traditional Foods, and Crafts in Kurtovo Konare. The research on festive visibility has been deconstructed to three components of analysis: story, local imagery and photogenicity (colors, photographic visuals). Material and methods. These include participant observations, in-depth interviews, analysis of visuals (both website and media ones as well as photographs, taken by the researcher), and desktop research of sc

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Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 9–15. http://dx.doi.org/10.23856/4301.

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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic

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Figueroa, Michael A. "“Behind the Sounds”." Journal of Musicology 38, no. 4 (2021): 401–18. http://dx.doi.org/10.1525/jm.2021.38.4.401.

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In this article I explore the aesthetics and political valence of shirei meshorerim (SM), a body of Israeli sung poetry that emerged out of a series of radio programs, festivals, and recording projects beginning in the 1970s and drawing on long-standing local practices in both Palestine/Israel and contemporary Mediterranean sung-poetry movements. I argue that the development of SM was characterized by an aesthetic distinction, wherein the high cultural register of poetry—a value produced by both the domestic discourse on art vis-à-vis politics and the broader global discourse in which the loca

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Gusāns, Ingars. "CHARACTERISTICS OF LATGALIAN POPULAR MUSIC (2005–2016)." Via Latgalica, no. 10 (November 30, 2017): 113. http://dx.doi.org/10.17770/latg2017.10.2768.

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Looking at the events of the last decade in the life of Latgalian popular music, there may be twofold feelings; one will feel that in the field of popular music life is in full swing; another will feel that everything is stunted and hopeless. The purpose of the research is to describe the situation of Latgalian popular music (success, problems) between 2005 and 2016. The object of the research is Latgalian groups and performers. In the given study, the concept of the popular Latgalian music is presented, which includes pop music, rock music, jazz, rap, and other styles of popular music that ma

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Vuletic, Dean. "Generation Number One: Politics and Popular Music in Yugoslavia in the 1950s." Nationalities Papers 36, no. 5 (November 2008): 861–79. http://dx.doi.org/10.1080/00905990802373579.

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Popular music is one of the cultural phenomena that has been most shared among the peoples inhabiting the territory of the former Yugoslavia; indeed, considering the persistence of a common popular music culture there even after the break up of the Yugoslav federation in 1991, there is perhaps little in cultural life that unites them more. It was in the 1950s that a Yugoslav popular music culture emerged through the development of local festivals, radio programs and a recording industry, at a time when popular music was also referred to as “dance,” “entertainment” or “light” music, and when ja

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Carter, Lyndal, Deborah Black, Anita Bundy, and Warwick Williams. "An Estimation of the Whole-of-Life Noise Exposure of Adolescent and Young Adult Australians with Hearing Impairment." Journal of the American Academy of Audiology 27, no. 09 (October 2016): 750–63. http://dx.doi.org/10.3766/jaaa.15100.

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Background: Since amplified music gained widespread popularity, there has been community concern that leisure-noise exposure may cause hearing loss in adolescents and young adults who would otherwise be free from hearing impairment. Repeated exposure to personal stereo players and music events (e.g., nightclubbing, rock concerts, and music festivals) are of particular concern. The same attention has not been paid to leisure-noise exposure risks for young people with hearing impairment (either present from birth or acquired before adulthood). This article reports on the analysis of a subset of

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Caïe, Thibault, Léa Garcia, Amandine Schreiber, and Laure Turner. "Billetterie du spectacle vivant en 2022." Culture chiffres N° 4, no. 4 (April 25, 2024): 1–24. http://dx.doi.org/10.3917/culc.234.0001.

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Théâtre, cirque, musique, danse ou encore seul-en-scène… le spectacle vivant, deuxième secteur culturel en matière de poids économique après l’audiovisuel, couvre une large variété de domaines esthétiques. D’après les données déclarées auprès du dispositif du ministère de la Culture SIBIL (Système d’information billetterie) et enrichies de celles du Centre national de la musique (CNM) et de l’Association pour le soutien du théâtre privé (ASTP), au moins 200 000 représentations de spectacle vivant ont été données en 2022, qui ont rassemblé 53 millions de spectateurs et généré une recette de bil

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Gottschalk, Kurt. "Borealis Festival, Bergen." Tempo 70, no. 278 (September 28, 2016): 92–94. http://dx.doi.org/10.1017/s0040298216000450.

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

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Milsten, Andrew M., Joseph Tennyson, and Stacy Weisberg. "Retrospective Analysis of Mosh-Pit-Related Injuries." Prehospital and Disaster Medicine 32, no. 6 (July 3, 2017): 636–41. http://dx.doi.org/10.1017/s1049023x17006689.

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AbstractObjectivesMoshing is a violent form of dancing found world-wide at rock concerts, festivals, and electronic dance music events. It involves crowd surfing, shoving, and moving in a circular rotation. Moshing is a source of increased morbidity and mortality. The goal of this study was to report epidemiologic information on patient presentation rate (PPR), transport to hospital rate (TTHR), and injury patterns from patients who participated in mosh-pits.Materials and MethodsSubjects were patrons from mosh-pits seeking medical care at a single venue. The events reviewed were two national c

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

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

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Dinis, Maria Gorete, Celeste Eusébio, and Zélia Breda. "Assessing social media accessibility: the case of the Rock in Rio Lisboa music festival." International Journal of Event and Festival Management 11, no. 1 (February 6, 2020): 26–46. http://dx.doi.org/10.1108/ijefm-02-2019-0012.

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PurposeThis paper aims to present a framework to analyse whether information published on social media is accessible for people with disabilities (PwD), namely, visual and hearing disabilities, with an application to a music festival.Design/methodology/approachThe methodology used in this exploratory study consists of establishing a recommended framework to assess social media accessibility for PwD, especially for people with visual and hearing disabilities (PwVHD), and analyse, through an observation grid, if the information published on the official pages of the “Rock in Rio Lisboa” music fe

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Marcus, Alan P. "When Brazil Got the Blues: The Diffusion of Blues in Brazil." Brasiliana: Journal for Brazilian Studies 10, no. 2 (February 18, 2022): 382–406. http://dx.doi.org/10.25160/bjbs/10.2.22.

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Thisarticlewillexamine theintroduction of blues in Brazil (1985-1992), a phenomenon thathas not yet been addressed in scholarly spheres until now. By highlighting the processes of globalization and the Brazilian blues band from Riode Janeiro, Blues Etílicos, I ask what were the spaces, places, and venues that helped to disseminate blues throughout Brazil? How does an African-American-based genre adopted and popularized by upper-and-middle-class white urbanites in Brazil? To answer these questions, I discuss the process ofglobalization and the Geography of music, political, musical,and cultural

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Bernhard, Ellen M. "‘I thought it was a very punk rock thing to say’: NOFX’s (sort-of) public apology and (in)civility in defining contemporary punk rock in online spaces." Punk & Post Punk 9, no. 1 (February 1, 2020): 7–22. http://dx.doi.org/10.1386/punk_00015_1.

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As a music genre built on the foundations of questioning the status quo, punk rock has a long history of generating controversy. While many of punk rock’s offensive moments have been accepted and applauded by fans around the world, NOFX’s comments at the 2018 Punk Rock Bowling and Music Festival about the 2017 Las Vegas mass shooting were met with immediate consequences for the band, who lost several sponsorships and the ability to play their own Camp Punk in Drublic music festival one week following the incident. After footage of the band’s comments circulated, they were met with a mixed, yet

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Kristiansen, Lars J. "‘Punks in Vegas’: Punk rock and image repair." Punk & Post Punk 9, no. 1 (February 1, 2020): 23–40. http://dx.doi.org/10.1386/punk_00016_1.

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At their 2018 headlining appearance at the annual Punk Rock Bowling and Music Festival in downtown Las Vegas, NV, California skate punk stalwarts NOFX generated widespread controversy after band members quipped about the mass shooting that occurred eight months prior during the Route 91 Harvest Country Music Festival in neighbouring Paradise, NV. After days of censorious media coverage, which prompted Stone Brewing to summarily terminate the band’s sponsorship contract in a widely circulated news release, the band issued a statement in which members collectively expressed remorse and apologize

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Zanetti, Mary. "Mathematical Lens: Woodstock Revisited." Mathematics Teacher 103, no. 4 (November 2009): 246–49. http://dx.doi.org/10.5951/mt.103.4.0246.

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Bethel Woods Center for the Arts is a performing arts venue that includes the Woodstock Festival grounds in Sullivan County, New York. The center is adjacent to the original preserved site where visitors can see the historic field where hundreds of thousands of rock music lovers gathered in August 1969. In addition, they can visit a museum dedicated to the Woodstock experience and the events of the 1960s as well as attend concerts featuring all types of music in various settings.

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Zanetti, Mary. "Mathematical Lens: Woodstock Revisited." Mathematics Teacher 103, no. 4 (November 2009): 246–49. http://dx.doi.org/10.5951/mt.103.4.0246.

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Bethel Woods Center for the Arts is a performing arts venue that includes the Woodstock Festival grounds in Sullivan County, New York. The center is adjacent to the original preserved site where visitors can see the historic field where hundreds of thousands of rock music lovers gathered in August 1969. In addition, they can visit a museum dedicated to the Woodstock experience and the events of the 1960s as well as attend concerts featuring all types of music in various settings.

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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epoch

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Supponen, Lauri. "In A Deepening Light: Musica nova Helsinki 2017." Tempo 71, no. 281 (June 21, 2017): 96–98. http://dx.doi.org/10.1017/s0040298217000390.

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As the audience's rustling quietens along with the memories of everyday pulses, ethereal sounds appear. We are at Helsinki's iconic Rock Church, on the eighth night of the biennial Musica nova festival for contemporary music. The Helsinki Chamber Choir sound the first, lingering lines of György Ligeti's Lux Aeterna from the balcony, behind the audience. The peculiar acoustics give the illusion that the choir is hidden in between the crevasses and cracks of the stone wall in front. The listener is surrounded. Marvellously kept together by Nils Schweckendiek, the singers transform the colour of

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Hodiamont, Didier, Christian Burgers, and Margot van Mulken. "Lees Niet Verder! Ga Iets Nuttigs Doen." Toegepaste Taalwetenschap in Artikelen 83 (January 1, 2010): 9–18. http://dx.doi.org/10.1075/ttwia.83.02hod.

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In this research, we investigated the influence of co-text (the text of which an utterance is part of) on the processing of ironic evaluations. In an experiment, we adapted and manipulated fragments from film, book and music reviews. Participants randomly read versions with either two ironie evaluations, two literal evaluations, or an ironie evaluation preceded by a literal evaluation. Findings show that literal evaluations (such as "we don't want to hear the local brass band play at a rock festival") were read faster than ironie evaluations (such as "we all love to hear the local brass band p

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Pastoor, Colleen, Kellee Caton, Yaniv Belhassen, Billy Collins, and Mark Rowell Wallin. "Rock of our salvation: ideological production at the Christian youth music festival." Annals of Leisure Research 21, no. 4 (October 11, 2016): 440–61. http://dx.doi.org/10.1080/11745398.2016.1239542.

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PIEKUT, BENJAMIN. "Music for Socialism, London 1977." Twentieth-Century Music 16, no. 1 (February 2019): 67–93. http://dx.doi.org/10.1017/s1478572219000100.

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AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and intervi

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Miller, Malcolm. "London, Royal Festival Hall: Steve Reich's ‘Radio Rewrite’." Tempo 67, no. 265 (July 2013): 78–79. http://dx.doi.org/10.1017/s0040298213000521.

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Radio Rewrite, whose world première by the London Sinfonietta (who co-commissioned it) was warmly greeted by the capacity audience at the Royal Festival Hall on 5 March 2013, represents a fascinating postmodern symbiosis that attests to the veteran minimalist composer's continuing quest to cross new aesthetic boundaries in his eighth decade. It formed the centrepiece of a stunning concert, broadcast live by BBC Radio 3, which marked the first leg of a UK Reich tour that preceded the work's first USA airing (in Stanford on 16 March by the other commissioning ensemble, Alarm Will Sound). Reich c

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Goldenberg, Yosef. "The estranged quotation in Israeli popular music." Popular Music 32, no. 3 (September 13, 2013): 497–519. http://dx.doi.org/10.1017/s0261143013000330.

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AbstractIsraeli popular music includes many quotations from earlier Israeli songs as well as other Israeliana references. Quotations may take various forms, from cover versions to the mere evocation of song titles. This phenomenon preceded the rockisation of Israeli music, had its apex in the 1970s with early rockisation, and is continuing today, despite a certain decline. The purpose of the quotations is often a mere interaction with traditional materials, but it also sometimes expresses a striving towards an experience of life that is more sincere. Two subtopics of special significance are a

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FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand." Journal of the Society for American Music 6, no. 2 (May 2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.

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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece

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BARZEL, TAMAR. "An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene." Journal of the Society for American Music 4, no. 2 (April 15, 2010): 215–50. http://dx.doi.org/10.1017/s1752196310000039.

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

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Höstman, Anna. "HEADLESS MUSICAL SEEDS AND GESTURES WITH ADJECTIVES: AN INTERVIEW WITH KEIKO DEVAUX." Tempo 76, no. 299 (December 15, 2021): 5–17. http://dx.doi.org/10.1017/s0040298221000619.

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AbstractKeiko Devaux (b. 1982) is a Canadian composer, originally from British Columbia, who now lives in Montréal. She began her musical career in piano-performance studies as well as composing, touring and recording several albums in independent rock bands. Her concert music is widely performed throughout Canada and Europe. From 2016–18, Keiko was the composer in residence of Le Nouvel Ensemble Moderne. She joined Salvatore Sciarrino's masterclasses at L'Accademia Musicale Chigiana in Siena, Italy, between the years 2017 and 2019. Keiko was commissioned by music@villaromana festival, Florenc

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Moscato, Derek. "The metanarrative of rural environmentalism: Rhetorical activism in Bold Nebraska’s Harvest the Hope." Public Relations Inquiry 8, no. 1 (January 2019): 23–47. http://dx.doi.org/10.1177/2046147x18810733.

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The ongoing, decade-long fight against the Keystone XL Pipeline in the state of Nebraska has incorporated traditional levers of public relations such as media relations and lobbying but has also borrowed from the long-standing tradition of rhetorical activism within U.S. environmental history. Through Fisher’s narrative paradigm, a rhetorical analysis of Bold Nebraska’s Harvest the Hope music festival is provided to understand the role of symbolic appeals in building an environmental activism metanarrative or master frame. Such an analysis shows how the social movement organization communicate

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Steets, Silke. "Playing Chamber Music at a Rock Festival? The Social Construction of Reality in US Sociology." Human Studies 39, no. 1 (March 2016): 71–91. http://dx.doi.org/10.1007/s10746-016-9396-2.

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