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Journal articles on the topic 'Summer music festivals'

Author: Grafiati

Published: 10 September 2021

Last updated: 29 July 2025

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1

RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renow

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2

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

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

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3

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

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

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Pailhé, Joël. "Les festivals musicaux dans l'espace aquitain." Sud-Ouest européen 8, no. 1 (2000): 31–37. http://dx.doi.org/10.3406/rgpso.2000.2737.

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Music festivals in the Aquitain region. The Aquitain region has taken its place, later than others, in the system of summer music festivals in France by benefiting from its territorial advantages (rurality, vacation sites, utilization of patrimonial elements). Within the region, the localization of classical music and jazz festivals shows up the frequency of intercommunality and of decentralized forms. The study of music festivals allows us to advance our thinking on the place of cultural supply in the social construction of places and territories.

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5

Skořepová, Zita. "Czechoslovak Folk Music and Dance Ensembles and the World Youth Festival in the 1950s: An Ethnomusicology and Oral History Perspective." Interdisciplinary Studies in Musicology 22 (December 29, 2022): 47–61. http://dx.doi.org/10.14746/ism.2022.22.4.

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One of the most significant mass manifestations of the state-subsidised cultural expres- sions of the Socialist Bloc in the second half of the 20th century was “Red Woodstock”, the World Festival of Youth and Students. The first edition took place in the summer of 1947 in Prague. Incidentally, this festival featured Czechoslovak amateur and professional folk music and dance en- sembles in a preliminary line-up, which later became the most important established ensembles in the country. Some of these ensembles then appeared regularly at Youth Festivals. Such festival performances were considere

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BRUCHER, KATHERINE. "Grant Park Music Festival and Music in Chicago's “Front Yard”." Journal of the Society for American Music 14, no. 1 (2020): 10–32. http://dx.doi.org/10.1017/s175219631900052x.

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AbstractChicago's Grant Park Music Festival, a free classical music series, provides a case study for exploring how music festivals contribute to the musical life of cities. Each summer, the Grant Park Music Festival Orchestra and Choir perform dozens of free performances at the Jay Pritzker Pavilion in Millennium Park and in residential neighborhoods. In 1935, James C. Petrillo, head of the Chicago local of the American Federation of Musicians, initiated the festival, then called Grant Park Concerts, to employ musicians during the Great Depression with funds from the federal Works Progress Ad

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7

Iványi, Tamás, and Szilvia Bíró-Szigeti. "UNDERSTANDING INTERNAL CONNECTIONS OF MUSIC FESTIVALS’ EXPERIENCE DIMENSIONS." Tourism and hospitality management 26, no. 2 (2020): 437–54. http://dx.doi.org/10.20867/thm.26.2.9.

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Purpose – For Generation Z (born after 1995) tourism during the summer usually means visiting festivals (especially music festivals) or seeking for extraordinary experiences. For them, the classical tourist attractions are not satisfying and interesting anymore. The aim of the paper is to examine experience factors based on models from the literature review and understand the internal connections among the experience dimensions in the case of music festivals in Hungary. Design / Methodology / Approach – For testing the suggested model based on the literature review and previous researches, a q

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8

Supponen, Lauri. "Festival Glasperlenspiel, Estonia. Tartu 9–15 July 2020 and Saaremaa 15–18 July 2020." Tempo 75, no. 295 (2020): 95–96. http://dx.doi.org/10.1017/s0040298220000704.

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Although 2020 will mostly be remembered as a period of hiatus for music festivals, a period of relative stability during the summer in Estonia enabled the festival Glasperlenspiel to hold most of its 25th anniversary programme. The strict restrictions on travel and gatherings (limited to 2 people in March) were eased in May when Covid cases in Estonia went under 10 per 100,000. Travel from Finland opened without restrictions on June 15, and the festival organisers knew in May that public events would again be allowed as of July 1. They were cutting it rather close, as until 30 June public even

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9

Pioš, Katarzyna, Karolina Skoczylas, and Teresa BrzeziñSka-Wójcik. "The Current Condition and Possibilities of Development of Festival Tourism in the Lublin Region." Polish Journal of Sport and Tourism 21, no. 2 (2014): 119–26. http://dx.doi.org/10.2478/pjst-2014-0012.

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Abstract Introduction. The number, range, and diversity of events with a character of festivals have been growing in the Lublin Region over the last several years. The events are organised by various entities and institutions. Information about them is largely dispersed. No study has been conducted so far determining the spatial distribution of festivals at the regional scale, and analysing their offer in the context of possibilities of development of festival tourism. Therefore, a study in the scope was undertaken with consideration of the cultural conditionings of some of the events. Materia

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10

Clarkson, Douglas. "Light shows and eye safety." Optician 270, no. 6986 (2024): 23–27. https://doi.org/10.12968/opti.2024.270.6986.23.

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11

Aldskogius, Hans. "Festivals and Meets: The Place of Music in 'Summer Sweden'." Geografiska Annaler. Series B, Human Geography 75, no. 2 (1993): 55. http://dx.doi.org/10.2307/490700.

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12

Aldskogius, Hans. "Festivals and Meets: The Place of Music in ‘Summer Sweden’." Geografiska Annaler: Series B, Human Geography 75, no. 2 (1993): 55–72. http://dx.doi.org/10.1080/04353684.1993.11879651.

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Mikkonen, Simo, and Antti Okko. "Overcoming a Cold War Mindset: Encounters with Soviet Musical Expertise in a Finnish Town." Journal of Cold War Studies 26, no. 2 (2024): 144–72. http://dx.doi.org/10.1162/jcws_a_01213.

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Abstract This article examines how a music festival in a regional Finnish town managed to overcome concrete and imagined Cold War limitations to become a venue for sustained encounters between Soviet and Western musicians starting in the mid-1960s. It explains how the Jyväskylä Summer Festival, which began in 1956 as one of the first festivals of its kind in the Nordic countries, acted as an intermediary and managed to secure contracts for several high-profile Soviet musicians to perform and provide master classes for up to a month, with relatively little surveillance from the Soviet state sec

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Luther, Matt, Fergus Gardiner, Shane Lenson, et al. "An Effective Risk Minimization Strategy Applied to an Outdoor Music Festival: A Multi-Agency Approach." Prehospital and Disaster Medicine 33, no. 2 (2018): 220–24. http://dx.doi.org/10.1017/s1049023x18000195.

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Specific Event Identifiersa. Event type: Outdoor music festival.b. Event onset date: December 3, 2016.c. Location of event: Regatta Point, Commonwealth Park.d. Geographical coordinates: Canberra, Australian Capital Territory (ACT), Australia (-35.289002, 149.131957, 600m).e. Dates and times of observation in latitude, longitude, and elevation: December 3, 2016, 11:00-23:00.f. Response type: Event medical support.AbstractIntroductionYoung adult patrons are vulnerable to risk-taking behavior, including drug taking, at outdoor music festivals. Therefore, the aim of this field report is to discuss

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KOROBITSIN, SVIATOSLAV. "FEATURES OF AN UNDERGROUND FEST PROMOTION IN THE NEW MEDIA (ON THE EXAMPLE OF BOL FESTIVAL, RUSSIA)." Communicology 8, no. 3 (2020): 163–77. http://dx.doi.org/10.21453/2311-3065-2020-8-3-163-177.

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The aim of the research is new media and their role in events promotion, which has acquired particular relevance in connection with the measures taken in connection with the pandemic and isolation. The study is based on practical experience of the promotion of one of Russia top summer festivals in the new media in Spring 2020 - BOL Festival1,2 - and the related advantages and disadvantages of this mode of promotion. The article examines the history of BOL Festival, its mission and idea, justified by the use of promotion tools in new media. The scientific novelty of the work is to consider the

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Iványi, Tamás. "Analysis of Sources for Information Gathering before Visiting a Festival in the Case of Generation Z." Periodica Polytechnica Social and Management Sciences 29, no. 2 (2021): 196–208. http://dx.doi.org/10.3311/ppso.15947.

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In recent years, festivals have become an essential part of summer activities for many members of Generation Z. Programs that last several days also mean significant financial burden for young people, so they gather information from multiple sources before decision-making. The purpose of the study is to examine which information sources – especially social media – and which motivations have become significant in the context of festival tourism's decision process.An online survey was conducted as part of and exploratory research over four consecutive years dealing with the use of information so

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17

Sagaris, Lake. "Around the Festivals / 2: Rescuing History: La Negra Esther." Canadian Theatre Review 61 (December 1989): 24–26. http://dx.doi.org/10.3138/ctr.61.005.

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In the cool dusk of the Chilean summer, thousands flocked to a circus tent last January to see a new kind of theatre. Part vaudeville, part street theatre, part melodrama, part music, La Negra Esther sets Romeo and Juliet in a brothel and carries it off with its own peculiarly Chilean sense of language and fun.

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Deschênes, Bruno. "The Montreal International Jazz Festival." Popular Music 19, no. 2 (2000): 253–55. http://dx.doi.org/10.1017/s0261143000000155.

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The Festival International de Jazz de Montréal (Montreal International Jazz Festival), which celebrated its twentieth anniversary in 1999, has become one of the most popular music festivals in the world, attracting in just twelve days more than a million and a half people. Most visitors are Canadians and Americans, but Europeans are attending in greater numbers each year.The first Festival, held in the summer of 1979, lasted less than a week. Since then, it has progressively expanded and has moved from one site to another several times to accommodate the growing number of visitors. At its curr

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19

Ray, James, and Karin S. Hendricks. "Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles." Journal of Research in Music Education 66, no. 4 (2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.

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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that wa

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20

MJ, Pascoe, Radley S, Simmons HTD, and Measham F. "The Cathinone Hydra: Increased Cathinone and caffeine adulteration in the English MDMA market after Brexit and COVID-19 lockdowns." Drug Science, Policy and Law 8 (January 2022): 205032452210992. http://dx.doi.org/10.1177/20503245221099209.

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Adulteration poses additional unknown risks to the health of people who use illicit drugs. In this study, we sought to determine the extent and nature of adulteration of ‘MDMA’ in circulation at English summer music festivals in 2021, following Brexit, COVID-19 lockdowns and various regulatory changes overseas. At three festivals in 2019 and 2021, 1648 surrendered substances were analysed with Fourier-transform infrared spectroscopy and colourimetric reagents in a mobile laboratory as part of a harm reduction project. Form, mass, appearance and main psychoactive component were recorded. Analyt

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21

Mehmet; CEYLAN, SOMUNCU. "Folk music, local dances and summer pasture festivals in rural areas of the Eastern Black Sea Region, Turkey." Co 13, no. 2 (2015): 79–92. http://dx.doi.org/10.1501/cogbil_0000000165.

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22

McGraw, Caroline. "Summer music and arts festivals as hotspots for measles transmission: experience from England and Wales, June to October 2016." Primary Health Care 27, no. 7 (2017): 13. http://dx.doi.org/10.7748/phc.27.7.13.s18.

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23

Belliveau, George, and Graham Lea. "Victoria Playhouse: Re(de)fining Space and Focus in Rural Prince Edward Island." Canadian Theatre Review 128 (September 2006): 26–30. http://dx.doi.org/10.3138/ctr.128.006.

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Prince Edward Island’s Victoria Playhouse celebrates its twenty-fifth season in the summer of 2006. Since 1981, the Playhouse, as it is locally known, has been producing theatre in the Victoria Community Hall, which inside looks like the inverted interior of a ship, quite appropriate for a theatre a two-minute walk from fishing wharves. This cosy hall, built by Win Bradley between 1914 and 1916, has had a long history of activity. During the two world wars, the Playhouse was used for “recruiting meetings, lectures, plays, concerts, suppers, [and] quilting bees” to help the war effort (Boswell

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24

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

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

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25

Doran, Mark. "Deal Summer Music Festival: David Matthews UK and World Premières." Tempo 57, no. 223 (2003): 83–85. http://dx.doi.org/10.1017/s0040298203240080.

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Nestling on the Kent coast between Ramsgate and Dover, the historic town of Deal is the distinctly pleasant home of a Summer Music Festival which in its 21 seasons has come to incorporate a fair amount of important contemporary music alongside more traditional offerings. This year's programme featured a welcome performance of the Seventh Piano Sonata (1956) by Harold Truscott (1914–92), marking the tenth anniversary of the death of this composer (resident in Deal from 1954); the world première of the choral work Town and Country (2002) by the Festival's new President, Kent-born Sir Richard Rod

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26

Erwin, Max. "Wet Hot Kranichstein Summer: Darmstadt 2016." Tempo 71, no. 279 (2016): 87–91. http://dx.doi.org/10.1017/s0040298216000735.

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The 2016 Darmstädter Ferienkurse für Neue Musik took place from 29 July to 14 August. That's more than two weeks of concerts and lectures. As anyone who has been to a New Music festival knows, you can't see everything, and you'll end up missing stuff that winds up being extremely important.

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27

Bronner, Fred, and Robert de Hoog. "Comparing conspicuous consumption across different experiential products: Culture and leisure." International Journal of Market Research 61, no. 4 (2018): 430–46. http://dx.doi.org/10.1177/1470785318799898.

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Consumer behavior recently underwent three main developments: a shift from material purchases to immaterial experiences, a shift from signaling status and wealth by means of consumer behavior to signaling identity, and increased social visibility due to the growing importance of social media. These trends did arouse a renewed interest in the concept of conspicuous consumption in the area of experiential purchases. Seven different types of experiential purchases are compared as regards the role of conspicuous consumption: the main summer holiday and participation in six different types of cultu

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Barlow, Jill. "London, Spitalfields Summer Festival: Beckett's ‘Old Earth’." Tempo 67, no. 263 (2013): 89. http://dx.doi.org/10.1017/s0040298212001477.

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Samuel Beckett, famed for his strikingly negative approach in his stage play Waiting for Godot (1953), also has a string of prose and poetry in similar vein to his credit over the years. So it was that Spitalfields Festival came to commission Alec Roth to write music to accompany a performance of Beckett's ‘Old Earth’ from his prose work Fizzles written 1972–75. This received its world première at Spitalfields Summer Festival 2012, suitably housed in the stark dark space of The Village Underground, a disused warehouse resembling an abandoned railway tunnel in London's East End. Trying to find

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Reinhardt, Jeffrey A. "Mathematical Lens: Picnic Patterns." Mathematics Teacher 100, no. 3 (2006): 213–14. http://dx.doi.org/10.5951/mt.100.3.0213.

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Picnic tablecloth patterns caught my eye while I was enjoying the musical patterns of an outdoor symphony concert at the Lancaster Festival, a ten-day music festival held each summer in Lancaster, Ohio.

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Reinhardt, Jeffrey A. "Mathematical Lens: Picnic Patterns." Mathematics Teacher 100, no. 3 (2006): 213–14. http://dx.doi.org/10.5951/mt.100.3.0213.

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Picnic tablecloth patterns caught my eye while I was enjoying the musical patterns of an outdoor symphony concert at the Lancaster Festival, a ten-day music festival held each summer in Lancaster, Ohio.

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Jones, Stephanie. "Darmstadt 2016: the ‘Universal Mouth’." Tempo 71, no. 279 (2016): 86–87. http://dx.doi.org/10.1017/s0040298216000723.

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In the preface to the 2016 International Summer Course for New Music programme booklet, the festival's artistic director, Thomas Schäfer, repeated a question that Irvine Arditti had put to him when they were discussing the Arditti Quartet's concerts: ‘shall we attack the future or dig up the past?’. This question, posed in order to establish some form of discursive framework for the course, became a subliminal trace throughout the festival. The participants' bags, for instance, were imprinted with the slogan, ‘attack the future’ and Schäfer ended his preface by stating, ‘let me call out to eve

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Bondarenko, Halyna. "Stand with Ukraine: Ukrainians of Carolina." Materìali do ukraïnsʹkoï etnologìï, no. 22 (December 30, 2023): 43–50. http://dx.doi.org/10.15407/mue2023.22.043.

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The activities of Ukrainians from South and North Carolinas, connected with the preservation of Ukrainian cultural heritage and support of Ukraine during the war time are described in the study. Ukrainian community of both states makes up for more than 10 thousand people and consists mainly of immigrants, moving to the USA since the early 2000s. This number has increased significantly after Russia’s full-scale invasion. Community organizations work in many cities. They unite and encourage the cultural activities of the Ukrainian population of the region. The Ukrainian Association of North Caro

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Law, Matt, Ffion Reynolds, and Jacqui Mulville. "Back to the Future? Presenting archaeology at the Green Man Festival." AP: Online Journal in Public Archaeology 6, no. 2 (2017): 57. http://dx.doi.org/10.23914/ap.v6i2.80.

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In the summer of 2011, Cardiff Osteoarchaeology Research Group was invited to present a number of archaeological engagement activities at the Green Man music festival as part of the Einstein’s Garden science learning area. The project, called Back to the Future?: Animals and archaeology in Einstein’s Garden comprised a number of activities, designed to cater for a wide range of ages as the festival audience typically includes young people and families. Over four days more than 2000 people visited the stall. This paper will briefly outline the activities presented, and will reflect on the chall

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Simangunsong, Listen Eva, Serodja Br Tarigan, Dara Yuliantika Bancin, and Ade Irma Suryani Hutapea. "Festival Sejarah Dokan." HISTORIA: Jurnal Program Studi Pendidikan Sejarah 10, no. 2 (2022): 237. http://dx.doi.org/10.24127/hj.v10i2.5788.

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Penelitian ini mencoba untuk mengetahui festival sejarah dokan. Penelitian ini menggunakan metode penelitian sejarah. Adapun tahapan yang digunakan dalam penelitian ialah dimulai dari tahap penentuan topik, pencarian jejak sumber sejarah atau Heuristik, kritik sumber, intepretasi, dan historiografi atau penulisan berdasarkan sumber sejarah. Hasil penelitian menunjukkan bahwa Festival Sejarah Dokan adalah acara budaya tradisional oleh masyarakat Desa Dokan, Kabupaten Karo dan teman-teman kreasi Indonesia. Masyarakat Desa Dokan, Kabupaten Karo, berperan dalam tim dan berperan dalam pementasan bu

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Nowak, Marianne. "Józef Patkowski at the Darmstadt International Summer Courses for New Music." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 17–28. http://dx.doi.org/10.14746/rfn.2019.20.2.

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Around 1960, the Darmstadt International Summer Courses for New Music were an important contact point for Polish composers and musicians to the Western avant-garde after years of isolation due to the doctrine of socialist realism imposed in Poland. During this first phase of Polish participation, Józef Patkowski participated twice in the Courses. Mainly based on sources to be found in the archives of the International Music Institute Darmstadt (IMD), this article di-scusses Patkowski’s perception of the Courses as well as his lecture on New Music in Poland which he held in Darmstadt 1962, and

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Barlow, Jill. "London, Spitalfields Summer Festival: Nicola LeFanu's A Phoenix for Carla." Tempo 67, no. 266 (2013): 87–88. http://dx.doi.org/10.1017/s0040298213001010.

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Nicola LeFanu, prominent among Britain's woman composers, noted both for her strong lyrical style and her exploration of the use of microtonality, employed all these skills in abundance in the world première of her new piece A Phoenix for Carla at this year's Spitalfields Summer Festival. I was attracted to this work due to its being billed as portraying a theme connected with the London Riots of 2011, which lends itself to drama as well as an examination of underlying sociological factors. However, leaving aside these wider considerations, the piece was in fact a microcosm, devoted to a highl

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Matthews, David. "Deal Festival: Pavel Novák." Tempo 58, no. 227 (2004): 59–60. http://dx.doi.org/10.1017/s0040298204250057.

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In describing the performance of three extraordinary pieces by the Czech composer Pavel Novák, I have to begin by declaring an interest in my capacity as Artistic Director of the Deal Summer Music Festival, at which he was a featured composer. Novák was born in Brno in 1957, and has achieved a high reputation in Moravia, where he is now acknowledged to be the leading composer of his generation. He is not yet well known outside the Czech Republic, although the Schubert Ensemble have commissioned three pieces from him – Lord, We Seek the Song of the Chosen for piano trio (1991); Royal Funeral Pr

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Winkler, Todd. "Summer Computer Music Festival, Frost Ampitheatre, Stanford University, Palo Alto, California, USA." Computer Music Journal 15, no. 3 (1991): 105. http://dx.doi.org/10.2307/3680770.

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Qodariah, Lelly, and Melinda Rahmawati. "FESTIVAL PEH CUN : PESTA MUSIM KEMARAU MASYARAKAT TIONGHOA DI KOTA TANGERANG." Haluan Sastra Budaya 5, no. 1 (2021): 21. http://dx.doi.org/10.20961/hsb.v5i1.44586.

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<p><em>The purpose of this research is to know</em> <em>a series of activities in Peh Cun Festival and the meaning of each procession carried out. The festival which is celebrated by Chinese Society in Tangerang has its own cultural and historical values. The Method used in this research is Explanative Qualitative Method with a generative approach that gives a detailed identification of a series of Peh Cun Festival celebrated by the Chinese Society and the meaning of the activity. </em><em>This research used literature study analysis by comparing and studyin

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Pressley, Margaret, and Rebecca Henry. "A Personal Journey toward Teaching Success." American String Teacher 44, no. 2 (1994): 69–72. http://dx.doi.org/10.1177/000313139404400227.

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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the fa

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Saraswati, Aphrodita Julia. "Krisis Industri Pertunjukan Musik Indonesia Pada Masa Pandemi." Ultimacomm: Jurnal Ilmu Komunikasi 13, no. 1 (2021): 41–64. http://dx.doi.org/10.31937/ultimacomm.v13i1.1913.

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Di seluruh dunia dampak pandemi Covid-19 dirasakan oleh berbagai sektor industri, tidak terkecuali industri pertunjukan musik. Di Indonesia khususnya, sektor ini merupakan salah satu yang menjadi pemasukan bagi industri ekonomi kreatif dan pariwisata. Industri pertunjukan musik harus tetap bertahan dengan kehilangan separuh dari sumber pendapatan utamanya. Studi ini berupaya mengkaji implementasi strategi respon krisis dan adaptasi inovasi yang dilakukan oleh salah satu promotor musik acara festival tahunan di Indonesia, Synchronize Festival, berdasarkan kerangka teori Situational Crisis Commu

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Bezzina, Edwin. "Gros Morne Summer Music Festival, 2022, Corner Brook and Woody Point, Newfoundland and Labrador." Newfoundland and Labrador Studies 37, no. 1 (2022): 1–9. http://dx.doi.org/10.7202/1113977ar.

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SCHMIDT, DÖRTE. "In Between: Cultural Exchange and Competing Systems." Twentieth-Century Music 17, no. 3 (2020): 347–59. http://dx.doi.org/10.1017/s147857222000016x.

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AbstractAfter the Second World War, cultural politics has become a central medium for international relations. Owing to the particular conditions of their development, the relations between Latin America and Europe constituted an interesting case study in which the positioning of different nations in the realm of two competing political systems and the politics of memory concerning the recent war are intertwined. This article highlights five ‘moments’ in West Germany with respect to the relationship between Europe and Latin America in the field of music: the papers of the German Federal Foreig

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Williams, Chris, Melissa A. Weber, Fredara Mareva Hadley, Scot Brown, and Tony Bolden. "Higher Ground: A Panel Discussion on Questlove’s Summer of Soul." Langston Hughes Review 29, no. 2 (2023): 150–73. http://dx.doi.org/10.5325/langhughrevi.29.2.0150.

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ABSTRACT Organized by music writer Chris Williams, this panel discussion on Ahmir “Questlove” Thompson’s Academy Award–winning 2021 documentary Summer of Soul ( . . . Or, When the Revolution Could Not Be Televised), which examines the 1969 Harlem Cultural Festival, was recorded on Zoom in September 2021 during the COVID-19 lockdown. Williams served as moderator, and panelists included Melissa A. Weber, Fredara Mareva Hadley, Scot Brown, and Tony Bolden. In addition to artists featured in the film, panelists shared views on a wide range of related topics, including the meaning of soul and the m

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Aldho, Venansius Aldho Ariyarso. "ANALISIS BENTUK PENYAJIAN MUSIK ETNIK ANGKLUNG PAGLAK DESA KEMIREN DALAM FESTIVAL ANGKLUNG PAGLAK SE-KABUPATEN BANYUWANGI 2018." GETER : Jurnal Seni Drama, Tari dan Musik 5, no. 1 (2022): 60–73. http://dx.doi.org/10.26740/geter.v5n1.p60-73.

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ABSTRAK Musik Angklung Paglak merupakan satu jenis musik etnik dari Desa Kemiren yang kemudian berkembang hingga diseluruh Kabupaten Banyuwangi, hingga dalam perkembangannya seni Angklung Paglak kemudian sering juga menyajikan gending-gending populer sekarang. Dalam rangka kegiatan pelestarian, maka Dinas Pariwisata Kabupaten Banyuwangi mengadakan agenda tahunan yaitu Festival Angklung Paglak Se-Kabupaten Banyuwangi tahun 2018 dan kelompok Angklung Paglak dari Desa Kemiren terpilih menjadi penyaji favorit. Berangkat dari fenomena inilah yang kemudian melatari ketertarikan untuk meneliti

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Kulkarni, Kavita. "“Like a Cosmic, Invisible Umbilical Cord”." Journal of Popular Music Studies 33, no. 4 (2021): 171–202. http://dx.doi.org/10.1525/jpms.2021.33.4.171.

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In summer 2002, New York City-based DJ Sadiq Bellamy and his two partners, DJs Tabu and Jeff Mendoza, organized the first Soul Summit Music Festival: a free, open-air, and open-to-the-public weekly series of house music dance parties set in Fort Greene Park, Brooklyn, during the summer season. The party ran every summer without incident for many years, and twenty years later, continues to receive global recognition among house heads for its success in bringing house music culture—and its legacy of liberation as a sensorial practice—to a broader and more intergenerational crowd than one would f

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Anderson, Martin. "A Conversation with Kalevi Aho." Tempo, no. 181 (June 1992): 16–18. http://dx.doi.org/10.1017/s0040298200015138.

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At the relatively young age of 43 (which his schoolboyish looks nonetheless belie), Kalevi Aho is one of the best-known of Finnish composers, with a substantial corpus of music to his credit – seven symphonies and other orchestral pieces, two operas and several smaller vocal works, three concertos (for violin, cello and for piano), and a healthy amount of chamber and instrumental music. I visited him in Helsinki last summer, in the offices of the Helsinki Festival, where he has a hand in the planning of the programmes, and remarked first on the richness and sheer vigour of Finnish musical life

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Bartolome, Sarah J. "“It’s Like a Whole Bunch of Me!”." Journal of Research in Music Education 60, no. 4 (2012): 395–418. http://dx.doi.org/10.1177/0022429412464054.

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The purpose of this ethnographic study was to explore the perceived values and benefits associated with participation in a highly successful community-based girls’ choral ensemble. The benefits of membership in the Seattle Girls’ Choir organization were explored, with particular attention to the expressed values and observed behaviors of choristers. Regular choir rehearsals, musicianship classes, festival and summer camp experiences, concert performances, faculty, staff and board meetings, and other community events were documented carefully and examined during a yearlong period of fieldwork.

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Burul, Yeşim. "The World of Aziza A.: Third Space in Identities." New Perspectives on Turkey 29 (2003): 209–28. http://dx.doi.org/10.1017/s0896634600006178.

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Every summer Wantijpark in Dordrecht, a small town in the western Netherlands, hosts a World Music festival called “Rainbowpark.” The performers of the 2002 season included Bun Sani from Surinam/The Netherlands, Ghalia Benali & Timnaa from Tunisia/ Belgium, Bayuba Cante from Cuba and Los de Abajo from Mexico. But the biggest star of the festival-that is, whose name was highlighted with the largest fonts in the posters and flyers-was Aziza A., presented as an artist from Turkey. In fact, this multi-faceted artist, whose real name is Alev Yıldırım, was born in Berlin in 1971 and has lived ev

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Papazova, Julijana. "The Memory About Skopje and Beethoven’s Symphony No. 9." Studia Musicologica 61, no. 1-2 (2021): 59–71. http://dx.doi.org/10.1556/6.2020.00005.

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In 2013, the International Skopje Summer Festival (founded in 1980) was traditionally opened on June 21, the World Day of Music, with Beethoven’s Symphony No. 9. The opening ceremony had a symbolic message: the performance of the symphony marked the 50th anniversary of the devastating earthquake in Skopje in 1963. This musical event was the starting-point of the research which is aimed at presenting a contemporary redefinition of Beethoven’s musical legacy and to analyze the meaning of the composition in the context of memory about a particular urban environment. At the same time the primary t

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