Large Festivals – Great Struggles

2016 ◽  
Author(s):  
János Zoltán Szabó
Keyword(s):  
Life Cycle ◽  
Cultural Anthropology ◽  
Contemporary Music ◽  
Cultural Impact ◽  
Music Festivals ◽  
European Culture ◽  
Western European ◽  
The Difference ◽  
Audience Development ◽  
Late Modern

Contemporary music festivals in late modern European culture have different histories, focuses, missions and geographical conditions. This chapter calls for deeper analysis of the development of festivals that is rooted in cultural anthropology, sociology and the sciences – a multidisciplinary approach. Without this, festivals will simply be known as recurring celebrations, thematic ritual events reflecting the basic values and the worldview shared by the participants that are the basis of their social identity. However, nowadays, the economic importance of festivals has become even more rigorously evaluated, whilst complicated ways to measure cultural impact are often left out, even from detailed reports. Most studies emphasise the difference between Eastern and Western European festivals (Newbold et al. 2015), however, the life cycle of a festival is influenced by factors that are similar wherever they take place: marketing, promotions, sales, audience development and quality, improvement challenges etc. As the size of the festival market has grown, new questions are being asked about economic efficiency. In this study I will search for similarities in the development of five major Eastern and Western European festivals, namely Glastonbury Festival (United Kingdom), Roskilde Festival (Denmark), Sziget Festival (Hungary), Exit Festival (Serbia), and Woodstock Festival Poland (Poland). I will also analyse the Sziget Festival’s life cycle in detail in order to go deeper into the issues and discuss ways to further research music festivals.

Wrong Notes in Contemporary Music

Tempo ◽  
1969 ◽  
pp. 8-11
Author(s):  
Hans Keller
Keyword(s):  
Contemporary Music ◽  
The Difference ◽  
The Right

My title is, of course, a begging of at least half the question: we first have to diagnose the right notes as right before we can say that any of them are wrongly played—diagnose rather than merely find: no longer does the fact that a composer puts down a C on paper necessarily mean that he cares two hoots if a C sharp is played instead, or a C-semi-sharp for that matter. And even if he thinks he cares, one takes leave to doubt the profundity of his worries when, in rehearsal, one notices that he does not perceive the difference between the alleged right note and the wrong note he gets instead. Such tone-deafness may indeed be temporary, traumatic—especially if the composer is young, unused to rehearsal, frightened, nervous. But if it happens again and again, in all conceivable circumstances, the least that can be said on the sceptical side is that he must be overestimating the significance of his C qua C.

The ‘wild hunt’ in the long story by V. Korotkevich. A new interpretation of the medieval legend

2021 ◽  
pp. 154-167
Author(s):  
A. V. Khokhlova
Keyword(s):  
Eastern European ◽  
Fixed Set ◽  
The World ◽  
Western European ◽  
New Interpretation ◽  
Late Modern

The article considers a transformation of the Western European motif of the ‘wild hunt’ in V. Korotkevich’s story King Stakh’s Wild Hunt. The author gives an overview of folklore motifs typical of the ‘wild hunt’ phenomenon in the Western and Eastern European traditions. With origins in folklore, the ‘wild hunt’ motifs find their way into works of many writers in the late modern to contemporary period: the ‘wild hunt’ is localised on the edge of the mythological space and retains a fixed set of meanings. Most commonly, the ‘wild hunt’ features at the intersection of two domains. The first one is a complex of motifs inherited from the ancient myths and legends of the Germanic ‘Wütendes Heer.’ The second consists of the attributes of actual hunting. Taking a cue from The Hound of the Baskervilles — an obvious inspiration behind the story — and making use of the motifs traditionally associated with the legend, Korotkevich deconstructs the medieval myth, reducing it to an adventurous technique, only to reinstate it with new and unique meanings. The ‘wild hunt’ becomes a symbol of the ignorance, fear and despondency that have the world in their grip.

Remarques sur la clôture du temps dans le monachisme médiéval et dans le mouvement écologique contemporain

Res Publica ◽  
1977 ◽  
Vol 19 (1) ◽  
pp. 135-146
Author(s):  
Ivo Rens
Keyword(s):  
Historical Research ◽  
Technical Development ◽  
Time And Space ◽  
European Culture ◽  
Western European ◽  
Industrial Revolutions

These remarks are parts of a historical research on the ideological functions of Catastrophism. It is suggested that in mediaeval monasticism the closing of time might have contributed to the unprecedented technical development of Western European culture between the Xth and the XVth centuries. The opening of time and space conveyed by the scientific and industrial revolutions have led to the ideologies of illimited progressand indefinite growth today officially prevailing in the whole world. It is questionned whether the closing of time inherent to the contemporary ecological movement, as illustrated by Economist Georgescu-Roegen, will contribute to the psycho-sociological mutation indispensable if mankind is to survive.

scholarly journals Gajo Petrovic’s Praxis

2007 ◽  
Vol 18 (2) ◽  
pp. 73-98
Author(s):  
Bozidar Jaksic
Keyword(s):  
Management System ◽  
Theoretical Orientation ◽  
Political Leadership ◽  
Self Management ◽  
The Political ◽  
Sociological Analysis ◽  
Authoritarian Rule ◽  
European Culture ◽  
Scientific Dissent ◽  
The Difference

The author?s approach is based on three premises: 1. that Gajo Petrovic?s Praxis was an outstanding phenomenon in Croatian, Yugoslav and European culture, a challenge of freedom in a repressive society; 2. that there has never been such a thing as "Praxis group", "philosophers of practice" or "Praxis philosophers" with a unified philosophical and socio-theoretical orientation; and 3. that political and ideological attacks on Praxis were part of the repressive system that targeted every instance of cultural and scientific dissent. The political leadership of Tito?s regime, its ideological and propaganda apparatus systematically disseminated allegations, denunciations and accusations against Praxis and Gajo Petrovic. The same style has survived through radical historical changes from the appearance of Praxis until today. The attackers have often been the same persons, with the difference that in earlier times they denounced Praxis and Gajo Petrovic as enemies of "socialism" and the "socialist self-management system", and in the changed political fashion as "servants" of Tito?s authoritarian rule. The fate of Praxis in the former regime has been triumphantly interpreted as a "family quarrel". This paper attempts a sociological analysis of the political destiny of Praxis. The analysis is essentially determined not by old and new political and ideological questionings of Praxis, but by Gajo Petrovic?s fundamental belief that there is no freedom without the human or humanity without freedom. .

Improvisation: Music for an Occasion

1985 ◽  
Vol 2 (2) ◽  
pp. 177-186 ◽  
Author(s):  
Eddie Prévost
Keyword(s):  
Special Reference ◽  
World Music ◽  
General Survey ◽  
European Culture ◽  
The Status ◽  
Western European ◽  
Communicative Power ◽  
The Impact

The case is put for improvisation as the basis for world music, with special reference to flexibility of the blues and the gamelan. An overview of the impact of society on music leads to a general survey of the status of improvisation in pre-industrial Western European culture. Improvisation is contrasted with composition and consideration is given to the problems of providing education in improvisation without destroying its vitality and communicative power.

scholarly journals Robust optimal usage modeling of product systems for environmental sustainability

2018 ◽  
Vol 6 (3) ◽  
pp. 429-435 ◽  
Author(s):  
Jungmok Ma
Keyword(s):  
Life Cycle ◽  
Environmental Sustainability ◽  
Product Usage ◽  
Numerical Examples ◽  
Usage Phase ◽  
Multiple Products ◽  
Product Systems ◽  
Proposed Model ◽  
Sustainable Product ◽  
The Difference

Abstract Proper modeling of the usage phase in Life Cycle Assessment (LCA) is not only critical due to its high impact among life cycle phases but also challenging due to high variations and uncertainty. Furthermore, when multiple products can be utilized, the optimal product usage should be considered together. The robust optimal usage modeling is proposed in this paper as the framework of usage modeling for LCA with consideration of the uncertainty and optimal usage. The proposed method seeks to optimal product usage in order to minimize the environmental impact of the usage phase under uncertainty. Numerical examples demonstrate the application of the robust optimal usage modeling and the difference from the previous approaches. Highlights The robust optimal usage modeling is proposed for the usage modeling of LCA. The proposed model seeks to sustainable product usage under uncertainty. Numerical examples demonstrate the difference from the previous approaches.

The Importance Of National Ideology In The Educational Process

2021 ◽  
Vol 03 (02) ◽  
pp. 138-144
Author(s):  
Khujayev Munis ◽  
Keyword(s):  
Life Cycle ◽  
Scientific Knowledge ◽  
Educational Process ◽  
Political Life ◽  
Usual Sense ◽  
Economic Class ◽  
National Economic ◽  
Current Events ◽  
National Ideology ◽  
The Difference

In the usual sense, ideology is not a science, although it includes scientific knowledge. The difference between ideology and science lies in the fact that it includes not only scientific knowledge and knowledge about socio-political life, but also an assessment of current events, trends, processes and various forces of this socio-political life. Strictly speaking, ideology does not exist in isolation from socio-political, national, economic, class and other communities and groups. It arises with them, forms and changes as their life cycle progresses, reflecting the interests of groups united by a given ideology.

Coalition Governance in Western Europe

2021 ◽  
pp. 1-14
Author(s):  
Torbjörn Bergman ◽  
Bäck Hanna ◽  
Hellström Johan
Keyword(s):  
Life Cycle ◽  
Eastern Europe ◽  
Formation Process ◽  
Western Europe ◽  
Party Systems ◽  
Final Phase ◽  
Central Eastern Europe ◽  
Three Stages ◽  
Central Eastern ◽  
Western European

This chapter describes the ambitions of the volume. First, we build on the lessons from earlier studies of governments in Western and Central Eastern Europe to deepen our understanding of the coalition life cycle, covering the three stages of a government’s ‘life’, beginning with the formation process, then turning to the governance stage, and lastly turning to the final phase when governments eventually terminate. Second, we seek to capture how recent changes in the Western European party systems, which are also described here, influence the various stages of the coalition life cycle. Third, we are in particular interested in how coalition partners cooperate and make policy once a government has formed, aiming to contribute to the growing literature on the topic of coalition governance. The chapter ends with a description of the content of the volume.

Vilnius: The Gaida Festival, October 2002 (plus recent CD releases of Lithuanian Music)

Tempo ◽  
2003 ◽  
Vol 57 (224) ◽  
pp. 47-50
Author(s):  
Martin Anderson
Keyword(s):  
Contemporary Music ◽  
Soviet Bloc ◽  
Modern Music ◽  
Music Festivals ◽  
Tan Dun ◽  
Lost Time ◽  
As If

There's a heartening number of contemporary music festivals in the former Soviet-bloc countries, and in the three Baltic republics in particular: it's as if, after decades of the suppression of modern music – even though less severe there than elsewhere in the USSR – they're all desperate to make up for lost time. The Gaida Festival, founded in 1991 and an annual event in Vilnius in mid-October, is one of the most ambitious: ten concerts in as many days, presenting contemporary Lithuanian composers, usually in first performances, in conjunction with others from further afield (among them this year Saariaho, Tan Dun, Cage, Jan Sandström – with Christian Lindberg astride the ubiquitous Motorbike Concerto – and Gubaidulina). Naturally, such occasions are ragbags, with failures among the successes – but young composers have to be able to hear their miscalculations, and Gaida is commendably generous with its time.

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