Grant Park Music Festival and Music in Chicago's “Front Yard”

2020 ◽  
Vol 14 (1) ◽  
pp. 10-32
Author(s):  
KATHERINE BRUCHER
Keyword(s):  
Classical Music ◽  
Works Progress Administration ◽  
Musical Life ◽  
Music Festivals ◽  
Music Festival ◽  
American Federation ◽  
The Great Depression ◽  
The Arts ◽  
The City

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 Administration. Changes in the city's cultural policies, its demographics, financial support, and expectations for how the festival serves the community have impacted how it programs its season and seeks audiences. Based on archival research, this article focuses on how the festival as a civic institution creates a listening public invested in particular narratives of Chicago as a dynamic city through programming music in public spaces. Looking at Grant Park Music Festival from contemporary and historical angles provides insight into how changes in aesthetic and social values, funding for the arts, and urban planning shape the way a festival engages with the city.

Socialization or genre appreciation: the motives of music festival participants

2017 ◽  
Vol 8 (3) ◽  
pp. 274-291 ◽  
Author(s):  
Thea Vinnicombe ◽  
Pek U. Joey Sou
Keyword(s):  
Design Methodology ◽  
Classical Music ◽  
Single Event ◽  
Music Festivals ◽  
Content Type ◽  
Music Festival ◽  
Study Support ◽  
Specific Factors ◽  
The Common

Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.

scholarly journals Musical Legacies: The Contribution of the Music Association of Ireland to an Irish Musical Infrastructure

2015 ◽  
pp. 3-22
Author(s):  
Teresa O’Donnell
Keyword(s):  
Music Education ◽  
Coming Out ◽  
Classical Music ◽  
Pedagogical Practices ◽  
Voluntary Organization ◽  
Musical Life ◽  
The Arts ◽  
Twentieth Century Music ◽  
The Times ◽  
Youth Orchestra

Drawing on archives preserved in the National Library of Ireland, Dublin, this article examines the history and significance of the Music Association of Ireland (MAI). During its sixty-year lifespan, from 1948 to 2007, the association contributed considerably to the musical life of Ireland, particularly in its educational initiatives and its efforts to influence national music policy and create an infrastructure for composers. Its voluntary efforts, especially its initiatives such as the Composers’ Group, Country Tours, Coming Out recitals, the Schools’ Recitals Scheme, the Irish Youth Orchestra and the Dublin Twentieth-Century Music Festival, grew into or influenced many of the independent, professional organizations prominent in Irish musical infrastructure today. At a time when government funding of the arts was limited, the MAI filled an important niche and acted as a voice for classical music, particularly in Dublin. The association’s initiatives, particularly the Schools’ Recitals Scheme (1967) and the Irish Youth Orchestra (1970), thrived in a climate which experienced pioneering developments in the arts and increased educational opportunities and leisure time. The times were marked by remarkable transformations in cultural, social and pedagogical practices which resulted in the opening up of access to the arts from the 1970s. The MAI benefitted greatly from this surge in cultural activity and the association became the Arts Council’s model in its pursuit of professionalizing the arts in Ireland. However, the MAI was unable, or unwilling, to make the transition from a voluntary organization to a professional one, and gradually went into decline. The long-term nature of a number of its projects meant that the MAI’s six objectives could not be achieved by one voluntary organization. Some sixty years later, many of these objectives are only now being realized through professional, government-funded agencies. The evidence of the MAI archive shows that the association played a valuable role in developing music and music education in Ireland—a notable achievement that deserves to be remembered.

scholarly journals Environmental Sustainability of Creative Economy: Evidence from a Lithuanian Case Study

2021 ◽  
Vol 13 (17) ◽  
pp. 9730
Author(s):  
Tomas Kačerauskas ◽  
Dalia Streimikiene ◽  
Rasa Bartkute
Keyword(s):  
Sustainable Development ◽  
Environmental Sustainability ◽  
Environmental Safety ◽  
Creative Economy ◽  
Music Festivals ◽  
Music Festival ◽  
Environmentally Sustainable ◽  
Sustainability Criteria ◽  
Near Future

The objective of the undertaken study is to investigate the sustainability of creative economy and present a case study providing the main findings on the linkages between creative economy and sustainable development. The in-depth literature review of the creative economy and sustainable development offered the main insights in the development of the case study hypotheses. A case study on the biggest music festival that was organised in Lithuania is provided. The findings confirm that creative economy can be environmentally sustainable, and the customers identified their clear preferences for sustainability criteria in music festivals; however, not all these preferences are properly addressed by the organisers of cultural events, as it was revealed by this case study. The results of a quantitative study show that the festival participants are increasingly expressing the need for sustainable music festivals, but organisers have not yet taken the necessary actions to address this need. It is likely that, in the near future, the festival organisers in Lithuania will have to start applying various sustainability criteria during the festivals in order to attract more visitors and generate more income from such events as well to ensure environmental safety. The practical implications of conducted study are equally important for all stakeholders, such as the community, policymakers, companies, and regulatory agencies that are concerned with the implementation of sustainable development practices.

scholarly journals The Positioning Strategy of Ambon as a Music City: Case Study – Ambon City (Maluku, Indonesia) Towards World Music City

2018 ◽  
pp. 605-610
Keyword(s):  
Problem Solving ◽  
World Music ◽  
Creative Economy ◽  
Global Competition ◽  
Careful Attention ◽  
Music Festivals ◽  
Positioning Strategy ◽  
The World ◽  
The City

Ambon City has been awarded as a Music and Culinary City of Indonesia by The Bekraf RI (Republic of Indonesia’s Creative Economy Agency). This article discusses how the preparations that have been carried out by the city of Ambon towards the world music city and the various problems associated within it. A number of relevant stakeholders in Ambon were interviewed and opened various evaluations and problem solving. Various programs that have been carried out are in accordance with the standards requested by UNESCO, but the priority scale in the executed steps requires more careful attention. Some things that still need more attention are related to information, regulation, relations between stakeholders, organizing music festivals (live performances) and bureaucratic systems. This article concludes that efforts related to the world music city still need a serious effort in positioning Ambon in the midst of global competition.

The Economic Impact of Cultural Events: The Umbria Jazz Music Festival

2011 ◽  
Vol 17 (6) ◽  
pp. 1235-1255 ◽  
Author(s):  
Bruno Bracalente ◽  
Cecilia Chirieleison ◽  
Massimo Cossignani ◽  
Luca Ferrucci ◽  
Marina Gigliotti ◽  
...  
Keyword(s):  
Economic Impact ◽  
Impact Analysis ◽  
Local Economy ◽  
Analysis Model ◽  
Music Festival ◽  
Jazz Music ◽  
Methodological Problems ◽  
The Impact ◽  
The City

This paper assesses the economic impact of a cultural event on a local economy. The event analysed is the Umbria Jazz music festival, which is held annually in July in the city of Perugia in Italy. The relevance of this case study concerns the methodological problems involved in estimating the number of visitors attracted by an event characterized by numerous free concerts. In addition, through the choice of the components of expenditure and the impact analysis model, the proposed approach represents an advanced synthesis of the paths which have been developing in the literature.

MUSIC FESTIVAL AS AN EXPERIENCE OF PRESERVING THE CULTURAL MEMORY OF THE PEOPLE (RECONSTRUCTION OF THE URAL MUSIC FESTIVALS OF THE 1930S – 1970S).

2021 ◽  
pp. 155-165
Author(s):  
Yulia V. Fedotova ◽  
◽  
Alexandr S. Fedotov ◽  
Keyword(s):  
Cultural Memory ◽  
Cultural Policy ◽  
Soviet Period ◽  
Regional Culture ◽  
Music Festivals ◽  
Music Festival ◽  
Festive Culture ◽  
The People ◽  
The Right ◽  
The City

The article reconstructs the process of origin and development of the festival movement in the Urals in the 1930s – 1970s in the music and concert sphere. The history of some of the largest festivals is viewed in the context of the formation of the Soviet festive culture and the goals of the Soviet cultural policy. The authors highlight the main holidays, for which the philharmonic society prepared musical programs - the anniversaries of the October Revolution of 1917 and the formation of the USSR, the birthday of V.I. Lenin. Since the late 1930s, the scope of musical programs has steadily increased. More and more organizations were involved in the creative process - philharmonic societies, theaters, libraries, clubs, art centers, departments of public education. The concert space has expanded from the «palaces of culture» and concert halls of the city to the central squares of the city, open spaces outside the cities and villages. In the 60s, favorable conditions for the development of the music industry were formed. Philharmonic music programs turn into mass celebrations, and then into regional festivals of professional, folk and amateur art. These events covered all audiences - schoolchildren, young people, factory workers and agricultural workers, the intelligentsia. Festivals acquired names, received vivid coverage in periodicals. Sometimes preparations for such celebrations took 1–2 years, and the festivals themselves could “travel” by train or car to regional cities and large villages during the whole jubilee year. By the 70s, the Ural music festivals reached the All-Union level, and also acquired international cultural ties. Special attention is paid to the forms of education, the repertoire of groups, geography and the organization of festivals. These festivals are considered by the authors as an instrument of popularizing and educating the “right” values among the people; they were supposed to activate mass practical activities. Ideas that sounded in musical-verbal and visual form from the stadiums, the stage of theaters during the festivals for a long time will be significant and memorable for a whole generation of people in our country. Therefore, a music festival can be considered not just a form of bringing people to the world musical heritage and educating people, but also an effective way to preserve the cultural memory of a people. The article uses archival materials, including those not previously introduced into scientific circulation, which help to understand the significance of these festivals for the regional culture of the Soviet period.

“Wagner Festival Ravello” as a Sociocultural Phenomenon of the Festival Process in Italy

2021 ◽  
pp. 183-196
Author(s):  
Olena Ponomarenko
Keyword(s):  
National Culture ◽  
Social Relations ◽  
Inductive Method ◽  
Musical Life ◽  
Campania Region ◽  
Music Festivals ◽  
Italian Experience ◽  
Italian Music ◽  
The City ◽  
Creative Life

The relevance of the issue is due to the need to consider Italian music festivals as a component of national culture, to summarize their experience, which is important for musical life in general and for Ukraine in particular.The purpose of the article is to identify the prerequisites for the origin, the development process, as well as the modern vector of functioning of one of the most authoritative festivals in the south of Italy “Wagner Festival Ravello”, the 68th season of which took place in 2020.The scientific novelty lies in the fact that for the first time in Ukrainian art history, Italian music festivals are considered as an organic, artistic and economic component of the national culture, their traditional and innovative features are noted, and prospects for further development in the musical life of modern Italy. A detailed analysis of the Wagner Festival in Ravello will contribute to the dissemination of Italian experience for the organization and conduct of musical projects in Ukraine.The research methodology is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of a set of complementary research methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of musical life in modern Italy.Main results and conclusions. “Wagner Festival Ravello” is developing and constantly improving its capabilities. The high professional level of the international festival has been maintained for many years, and this is done thanks to the coordinated management of everyone involved in the organizational process. It should be noted that there is significant support from public authorities, as well as investments from the business sector. Within the framework of a modern project, there are creative scenes created using innovative technologies, orchestra of the Teatro San Carlo, the recording studio, the festival magazine — all these components of systemic activity are interconnected and aimed at ensuring an impeccable result. The Ravello Foundation has been leading and constantly developing the project for almost 20 years in order to represent the city of Ravello internationally as one of the cultural centers of the Campania region. Further creative life and the success of the festival require cooperation of cultural, financial, state institutions, constant technological renewal — everything that will allow the world to demonstrate the historical and artistic monuments of the City of Music and preserve the Wagner Festival of Ravello for future generations as an Italian cultural brand. Prospects for further research in this direction are: first, in a thorough study of the specifics of the functioning of music festivals in modern Italy and coverage of various aspects of the organization of this process; secondly, in the analysis of cooperation between the cultural, financial, tourism sectors, which affects the high level of organization and long-term creative life of festival events; thirdly, in considering the control system by the state, which should always be focused on professional support and represent the most important component of the functioning of art projects. All of the above will help domestic musicians learn about the specifics of organizing music festivals in Italy, as well as adopt and use it in the practice of musical life in modern Ukraine

Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment

2017 ◽  
Author(s):  
Denise Gill
Keyword(s):  
Classical Music ◽  
Theoretical Frameworks ◽  
Music Production ◽  
History Of ◽  
Rhizomatic Analysis ◽  
The City

Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as small as a single sound.

scholarly journals STRATEGI POSITIONING DAN DIFERENSIASI DALAM UPAYA MEMBANGUN BRAND, STUDI KASUS NGAYOGJAZZ

2017 ◽  
Vol 1 (2) ◽  
pp. 54-67
Author(s):  
Agnes Tika Setiarini
Keyword(s):  
Marketing Strategy ◽  
Marketing Theory ◽  
Music Festival ◽  
The Public ◽  
Study Approach ◽  
Differentiation Strategy ◽  
Depth Interview ◽  
Jazz Music ◽  
The City

Ngayogjazz adalah salah satu festival musik jazz yang diselenggarakan rutin setiap satu tahun sekali di Yogyakarta. Festival ini mengalami peningkatan jumlah penonton yang signifikan setiap tahunnya. Keberhasilan Ngayogjazz ini adalah salah satu hasil dari strategi pemasaran yang dijalankan. Strategi pemasaran yang baik akan menjadi penentu suksesnya pemasaran sebuah produk. Segitiga positioning, diferensiasi, brand (PDB) adalah salah satu pengembangan dari konsep pemasaran oleh Kertajaya. Teori ini dapat menjadi landasan untuk menentukan strategi positioning dan diferensiasi yang tepat bagi sebuah produk. Penelitian ini difokuskan pada penerapan teori segitiga PDB dalam Ngayogjazz. Metode penelitian menggunakan metode kualitatif pendekatan studi kasus. Pengumpulan data dilakukan melalui indepth interview. Hasil dari penelitian ini adalah rumusan upaya-upaya strategi positioning dan diferensiasi dalam festival Ngayogjazz. Kesimpulan yang dihasilkan, penerapan segitiga PDB dalam Ngayogjazz penting dilakukan agar penyelenggara mengetahui sejauh mana maksudnya tersampaikan pada masyarakat. Hasil dari analisis menggunakan segitiga PDB, Ngayogjazz telah membentuk sebuah brand sebagai festival musik jazz yang memiliki karakter kota Yogyakarta. Ngayogjazz is one of the jazz festivals held regularly in Yogyakarta. The number of audiences in this festival has increased significantly every year. The success of Ngayogjazz is one of the results of its marketing strategy. A good marketing strategy will determine the success of the product and will also build a strong brand for itself. Positioning, differentiation, and brand (PDB) is one of the developments of Kertajaya's marketing concept. PDB Triangle could be the basis for determining the appropriate positioning and differentiation strategies for a product. The research focuses on the application of PDB triangular theory in Ngayogjazz, using qualitative method with case study approach. Data is collected through in-depth interview. These methods can measure to which extent does Ngayogjazz applies marketing theory (in this case, positioning and differentiation). The results from this study is the formulation of positioning and differentiation strategy in Ngayogjazz festival. This study concludes that the application of the PDB triangle in Ngayogjazz is important so that the organizers know to which extent the intention is conveyed to the public. The results of the analysis using PDB triangle shows that Ngayogjazz has formed a brand as a jazz music festival that wears the characteristics of the city of Yogyakarta.

What Does a City Sound Like? The Musical Dynamics of a Colonial Settler City

2014 ◽  
Vol 11 (2) ◽  
pp. 273-290
Author(s):  
David Gramit
Keyword(s):  
World War I ◽  
First Nations ◽  
Settler Colonialism ◽  
Cultural Practice ◽  
World War ◽  
Musical Life ◽  
Queen Victoria ◽  
Musical Cultures ◽  
The City

A study of public musical life in Edmonton, Alberta from the 1897 Diamond Jubilee of Queen Victoria through the beginning of World War I provides a case study in the development of new urban musical cultures during the settlement of western North America. The contrast between the Jubilee celebration and Alberta's inauguration as a province in 1905 reveals growing ambition to demonstrate a capacity for the serious music that could be viewed as a marker of civic achievement, and the absence in 1905 of First Nations dancers and drummers, who had taken part in the 1897 event, provides a reminder of the displacement of indigenous peoples that accompanied the immigration booms that characterized settler colonialism. Popular music too developed with the city; as an alternative to non-literate, rural practices like fiddling, it could represent another form of urban sophistication, but also provided an opportunity to import high culture's dismissal of the popular, yet another signifier of urban cultural practice.

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