scholarly journals HOW DO ARTISTS INNOVATE ON SCENE? UNDERSTAND THE IMPLEMENTATION OF ARTISTIC INNOVATION THROUGH THREE CANADIAN MUSIC FESTIVALS.

2020 ◽  
Vol 20 (1) ◽  
pp. 67-78
Author(s):  
Paulin Gohoungodji
2000 ◽  
Vol 35 (3) ◽  
pp. 173-183 ◽  
Author(s):  
Will Straw
Keyword(s):  

Author(s):  
Kerryn Gill ◽  
Claudia Ollenburg ◽  
Robert Nash

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.


Tempo ◽  
2020 ◽  
Vol 75 (295) ◽  
pp. 95-96
Author(s):  
Lauri Supponen

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.


2020 ◽  
Vol 30 (Supplement_5) ◽  
Author(s):  
A Beržanskytė

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.


2021 ◽  
pp. 136754942110086
Author(s):  
Paulo Nunes ◽  
Carolyn Birdsall

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.


2016 ◽  
Vol 9 ◽  
pp. 205979911663066 ◽  
Author(s):  
Nick Crossley ◽  
Rachel Emms
Keyword(s):  

2021 ◽  
Vol 78 (2) ◽  
pp. 179-192
Author(s):  
Colleen Renihan ◽  
Julia Brook ◽  
Ben Schnitzer

To the accepted three cornerstones for innovation of undergraduate music major curricula—creativity, diversity, and integration—must be added fourth, professionalization, that is, the establishment of viable professional identities. This article focuses on a subset of Canadian music undergraduate singers, reporting on research into the structure and reality of the eight cultural domains in Canada, and investigating three important themes that emerge from statistics for the training of singers in postsecondary training: the range of work available to music graduates, the portfolio nature of working musicians’ careers, and the increasing significant role of technological fluency in musicians’ careers today.


2021 ◽  
Vol 18 (4) ◽  
pp. 398-408
Author(s):  
Tatiana A. Tsvetkovskaya

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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