Mapping the musical universe: A blockmodel of UK music festivals, 2011–2013

Australia is host to over 350 music festivals every year however, it has become apparent that very little work has been done to determine why young people choose to consume large amounts of alcohol at these events and in turn, what role peer pressure plays in their decisions. This study adds to research, investigating the motivations of those who attend music festivals, as well as exploring how peer pressure impacts young peoples choice to attend and consume alcohol. Data was collected from students attending four Queensland Universities and identifies the importance of alcohol consumption to attendees. This study both substantiates previous research, as well as support academic theories.

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Festival Glasperlenspiel, Estonia. Tartu 9–15 July 2020 and Saaremaa 15–18 July 2020.

Tempo ◽

10.1017/s0040298220000704 ◽

2020 ◽

Vol 75 (295) ◽

pp. 95-96

Author(s):

Lauri Supponen

Keyword(s):

Relative Stability ◽

25Th Anniversary ◽

Music Festivals ◽

Public Events

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 events were completely prohibited.

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Public health risk factors at music festivals: “Be Safe Lab” initiative

European Journal of Public Health ◽

10.1093/eurpub/ckaa165.1188 ◽

2020 ◽

Vol 30 (Supplement_5) ◽

Author(s):

A Beržanskytė

Keyword(s):

Risk Factors ◽

Harm Reduction ◽

Drug Users ◽

Medical Knowledge ◽

Integrated Services ◽

Unprotected Sex ◽

Structured Interviews ◽

Music Festivals ◽

Governmental Organizations ◽

Non Governmental Organizations

Abstract Background At large public events such as music festivals there is an increased exposure to the risk factors as alcohol, tobacco and narcotics, unprotected sex, trauma and violence. Non-governmental organizations engage in prevention and support activities at such events. An initiative “Be Safe Lab” has developed in Lithuania to reduce the likelihood of adverse events due to harmful behavior at public festivals. Study Aim To investigate the experience of operating the “Be Safe Lab” initiative at Lithuanian music festivals. Methods In this qualitative study the data were collected from five “Be Safe Lab” volunteer staff using semi-structured interviews lasting in average of 50 minutes. The main guidelines were prepared and informants were asked to tell in general about the initiative, motives and reasons to develop the initiative, its goals and tasks, the questions that visitors apply to them, challenges and obstacles, personal experience in the initiative. Data were analysed using inductive thematic analysis according to Braun and Clarke (2013). Results The analysis revealed 6 main themes: principles of the initiative, variety of services, substance use harm reduction, changes of volunteers' perspectives, the role of teamwork, and initiative challenges. Conclusions The initiative has a number of strengths and challenges. Integrated services are provided not just to drug users, but also to other festival visitors who seek help or advice. The volunteer staff must have special skills, competencies and medical knowledge. The harm reduction measures for drugs and psychoactive substances used in the initiative are believed to be effective and attract music festival visitors. Initiative volunteers benefit both personally and professionally from providing services. However, further success of the initiative requires additional financial support, training, and collaboration with institutions providing emergency medical services at music festivals. Key messages Integrated services are provided to any festival visitor who seek help from “Be Safe Lab” specialists. The initiative volunteers benefit both personally and professionally from providing services.

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Curating the urban music festival: Festivalisation, the ‘shuffle’ logic, and digitally-shaped music consumption

European Journal of Cultural Studies ◽

10.1177/13675494211008646 ◽

2021 ◽

pp. 136754942110086

Author(s):

Paulo Nunes ◽

Carolyn Birdsall

Keyword(s):

Digital Media ◽

Urban Space ◽

Cultural Policy ◽

Urban Environments ◽

Radio Station ◽

City Branding ◽

Music Festivals ◽

Music Festival ◽

Urban Music ◽

Cultural Intermediaries

In recent years, music festivals have grown in significance within local cultural policy, city branding and tourism agendas. Taking the Mexefest festival in Lisbon as a case in point, this article asks how, in the digital streaming era, music festivals in urban environments are framed, curated and experienced. Drawing on ethnographic fieldwork, our analysis examines how music festival programmers curate the urban festival experience, for both locals and tourists alike. First, we identify the emergence of urban music festivals in recent decades, and how modern festival programmes have adopted the cultural technique of the ‘shuffle mode’ as an influential principle. Second, we investigate the work of festival programmers through the lens of ‘cultural intermediaries’, and ask how their programming strategies, particularly through digital mobile media (such as music playlists), contribute to an aestheticised experience of the city during the festival. Third, we focus on how the Mexefest festival events are staged in tandem with brand activation by sponsors like mobile phone company Vodafone and their radio station Vodafone FM. In doing so, we highlight the participation of festival-goers through their embodied engagements with digital media, music listening and urban space, and evaluate the heuristic value of ‘shuffle curation’ as a tool for the understanding of music festivals as a distinctly global and networked form of leisure consumption in urban culture.

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Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development

Observatory of Culture ◽

10.25281/2072-3156-2021-18-4-398-408 ◽

2021 ◽

Vol 18 (4) ◽

pp. 398-408

Author(s):

Tatiana A. Tsvetkovskaya

Keyword(s):

Social Role ◽

Collaborative Work ◽

Music Festivals ◽

Musical Education ◽

Leading Role ◽

Collective Work ◽

The Social ◽

German Composer ◽

Source Of Information

The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded in the 1920s. Their main participants were H. Besseler and T. Adorno. A valuable source of information is the programs of music festivals in Donaueschingen and Baden-Baden, where Gebrauchsmusik was evolving as a multi-genre artistic experiment. Hindemith played the leading role in this process. It is also important to understand the reasons that prompted the composer to use M. Luther’s text in the cantata “Frau Musica”.Today the Gebrauchsmusik’s ideas — revitalization of the audience, expanding access to musical education and practical musical activities that evolve collaborative work — have gained the most relevance. According to the author’s hypothesis, “Frau Musica” can be regarded as an illustrative example of a work that combines different views on the nature of musical participation: a spiritual act, a collective work, the highest level of musical accessibility. In this particular composition, Hindemith intuitively found the most promising ways for the development of creative interaction between the composer and the listener, which subsequently led to the creation of a whole corpus of participatory works, including Tod Makover’s “City Symphonies”, Alexander Radvilovich’s “Baltic Music”, Paul Rissman’s “Supersonic”.

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The role of harm minimisation to prevent alcohol and drug misuse at outdoor music festivals

The Routledge Handbook of Festivals ◽

10.4324/9781315186320-10 ◽

2018 ◽

pp. 92-101

Author(s):

Alison Hutton

Keyword(s):

Drug Misuse ◽

Harm Minimisation ◽

Music Festivals

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Music in Turkey

Tempo ◽

10.1017/s0040298200050191 ◽

1951 ◽

pp. 29-30

Author(s):

George Weldon

Keyword(s):

Fine Arts ◽

Piano Concerto ◽

Symphony Orchestras ◽

Music Festivals ◽

British Council ◽

Almost All ◽

Vaughan Williams

Turkey has now had four Anglo-Turkish Music Festivals in Ankara, organised by the British Council and the Turkish Ministry of Fine Arts. The first of these (1948) and the fourth (1951) I had the pleasure of conducting.Perhaps because of her distance from England, it is frequently not realised to what extent Turkey has advanced musically during the relatively brief space of time that she has been developing on Western musical lines. There are only two Symphony Orchestras in Turkey, at Ankara and at Istanbul, and both these are composed almost entirely of Turkish musicians. The Presidential Philharmonic Orchestra at Ankara is over seventy strong, and also provides the nucleus for the Radio Orchestra and the Opera Orchestra. For the Festival, seven rehearsals were allowed for each concert, and these were of course necessary to assimilate what were almost all new works to the repertory of the Orchestra, including Vaughan Williams' Job, Richard Arnell's Piano Concerto and Alan Rawsthorne's Symphonic Studies, quite apart from new Turkish works, which I will refer to later. The quality of orchestral playing is reasonably high, by any standard; there is a very pleasant warm string tone, and the principal woodwind players are truly excellent, the brass section is quite reliable, and I was particularly struck by the playing of the first horn.

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