Commercial music festivals in the United States have been growing in popularity since the 1960s. Today, many weekend-long music festivals are annual events spanning a variety of genres and often occur at the same locations each year. My research compares and contrasts how jamband music festivals are marketed as sustainable events and attempts to determine how the advertised sustainable practices are implemented and utilized at selected jamband music venues. The jamband genre of music emphasizes musical improvisation and borrows from other styles of music: rock, electronic, jazz, blues, folk, and bluegrass. In addition, any impacts these festivals have upon the local environment are evaluated. Sustainability is a topic often used as a marketing strategy when promoting summer jamband music festivals. Fans of this genre are identified with a culture that is similar to the environmentally conscious hippie culture of the 1960s and 1970s. The data for this research were obtained through field observations, interviews, surveys, and content analyses of promotional materials. It is my hypothesis that the festivals’ sustainable practices will be adopted by local communities as the festivals leave both a physical and cultural imprint upon the local landscapes, which is determined through attendee surveys and interviews with local decision makers and festival promoters. I also hypothesize that the geographic location of each will have an influence on the participation in such practices by the festival attendees, as I believe those in attendance at the High Sierra Music Festival in California will be more likely to have green lifestyles as California has been a leader in environmentally conscious innovations and attitudes, whereas other states, Illinois and Tennessee, lag behind. The data collected were mapped and analyzed to determine the effectiveness of environmental sustainability promotions and practices at the fan level as well as the local level. This research fills a gap within the geographic literature as no research exists examining the spatial relationship between music festivals and sustainability. Additionally, my research highlights that popular cultural events can be opportunities to engage in meaningful environmental education on issues such as recycling, and environmental sustainability.

Bachelor Thesis Music & Event Management School of Economics at Linneaus University of Kalmar, Economics, 2FE40E, Spring 2013 Author: Johan Hagelberg, Sofia Prins & Oskar Sjögren Supervisor: Petter Boye Examinator: Thomas Karlsson Titel: Det svåraste som finns är att tänka i nya banor - En studie kring personalhantering och effektivisering av arbetet på svenska musikfestivaler. Purpose: The purpose of this study is to investigate how different music festivals in Sweden can work to increase the efficiency by managing the workforce and internal knowledge. Method: The study was based on a qualitativ method with an abductive approach. The majority of the data comes from qualitativ interviews with persons in the industry. Conclusion: The music festivals in Sweden are acting under a constant economic pressure which leads to an experienced need for a larger workforce - mosty non-profit. The result of this study shows that the larger workforces are both unmotivated and decreases the effeciency of the work. The study aims to highlight the diffrenses between non-profit and commersial festivals and the way they work with human resource management and personal in different levels of the organization.

This dissertation asks how conceptions of race have informed popular cultural expressions in post-independence Morocco. Further, how have these expressions helped shape Moroccan modernity? What does an analysis of the history of the Gnawa in Morocco tell us about changes in Moroccan society, including the religious landscape, and the relation of these changes to globalization? This dissertation tracks the often contradictory paths that modernity has taken in Morocco through a focus on one racialized subculture, the Gnawa, ritual musicians originally from sub-Saharan Africa who have lived in Morocco for centuries without losing a certain African identity. The first part of the dissertation assesses Blackness in Morocco, considering Moroccan history in light of its relations across the Sahara desert. I examine cultural patterns of the Niger River region to which the Gnawa trace their origins, as well as crucial elements in the Moroccan past that involve racial formation. The second part of the dissertation considers how newcomers come to take on these new spiritual and musical identities, whether through a kind of musical transposition or an economic conversion. I argue that mass media have been central in Gnawa conversion narratives in the past, while more recent Gnawa identities have revolved around the consumption of commodities. The third section details my own conversion through a series of engagements with the Essaouira Festival of world music and Gnawa music in Morocco. I attended the festival as an informed tourist and also behind the scenes as an interested participant, and I found that the festival serves multiple purposes in Morocco's cultural economy. I conclude that Morocco's aesthetic history is deeply influenced by conceptions of race. These conceptions have in turn influenced commercial media expressions of post-independence Moroccan identities. Finally, since the opening of Moroccan society in the 1990s, the clearest expression of the future of Moroccan expressive and popular culture has been the rise of music festivals. / text

Thesis (Ph. D.)--Florida State University, 1994. / Typescript. Includes musical score (p. 293-337): Kleine Serenade für Militärorchester (1926) by Ernst Pepping, edited by John C. Carmichael (1990). Includes vita and abstract. Includes bibliographical references (p. 362-391).

[pt] O estudo procura identificar as formas pelas quais o festival de música intitulado Rock in Rio foi capaz de atravessar gerações e, no Rio de Janeiro, ao longo de mais de trinta anos (1985-2017) e com futuros eventos confirmados, se manter pertinente junto às diferentes juventudes que vivenciaram - e ainda vivenciam - suas diversas edições. Para isso se desdobra, primeiramente, em uma análise sobre os festivais contemporâneos enquanto importantes difusores da música na atualidade, além relevantes mediadores do encontro presencial e da convivência social; e, ainda, como se tornaram símbolos de valores tipicamente associados ao conceito de juventude que, no Brasil, vieram ao encontro de um cenário local que propiciou o surgimento do Rock in Rio. Na sequência, o estudo apresenta informações sobre a abrangência deste festival, junto a aportes teóricos onde dialogam os campos da comunicação, história e memória que refletem o contexto de sua realização. Por último, são apresentados os achados das duas etapas compreendidas no trabalho de campo: (a) a observação participante realizada durante a edição de setembro de 2017 do Rock in Rio; e (b) as entrevistas em profundidade com integrantes da audiência da primeira edição do festival, no ano de 1985, e com representantes da atual geração de jovens, no que concerne à faixa etária, que passaram a frequentá-lo a partir de 2011. Ambas tiveram como objetivo entender o valor simbólico do Rock in Rio para as distintas gerações que compõem a sua audiência, fator que se mostrou intrínseco à longevidade do festival. / [en] The study aims to identify the ways by which the music festival entitled Rock in Rio was able to cross generations in the city of Rio de Janeiro and make itself relevant along with the distinct youths who have lived and experienced its various editions for more than thirty years (1985-2017) with future events already confirmed. To this end, the study presents an analysis of contemporary festivals as one of the main broadcasters of music in the present time, besides being relevant mediators of the face-to-face meeting and the social coexistence; and also how they became symbols of values typically associated with the concept of youth, which have found particular circumstances in Brazil that led to the emergence of Rock in Rio. The study then presents some institutional information about this music festival, together with theoretical contributions on the fields of communication, history and memory that reflect the context of its accomplishment. Finally, the findings of the two stages included in the fieldwork are presented: (a) a research carried out during the September 2017 edition of Rock in Rio; and (b) in-depth interviews with members of the audience of this festival s first edition, in 1985, together with current young people, regarding the age group, who accompanied its most recent editions (from 2011). Both phases were aimed at understanding the symbolic value of Rock in Rio for the distinct generations that make up its audience, something that was perceived as intrinsic to the festival s longevity.

This research answers the question of which nudges can be created to subtly influence event attendees in such a way that they contribute to the implementation of a green event. Using the qualitative content analysis according to Mayring, three music festivals were analyzed in detail with regard to their measures for ecological sustainability. All available online resources—in particular, the websites of the music festivals, blog entries, online newspaper articles and, also, observations during several personal visits—were used as sources of the qualitative data. A key result was the development of a model for nudges that can generally be used and implemented for events. The goals, the nudges developed and the possible measures with regard to ecological sustainability are defined in the areas of transport, garbage, electricity, gastronomy, sanitation and compensation of emissions. The more music festival participants already behave in an ecologically sustainable manner, the more others will join them. This can be exploited by using social nudges that consciously inspire group social dynamics. In order to be able to use nudging sensibly, organizers have to internalize that they act as decision-makers, which entails a great ethical and moral responsibility. Even inconspicuous nudges can be very effective.

Bakgrund & problem: Säkerhet utgör en stor del av arbetet på musikfestivaler eftersom det finns risk för såväl mindre som dödliga incidenter. I förhållande till besökarens festivalkänsla finns det dock risk för att säkerhetsarbetet upplevs som otillräckligt respektive överdrivet. Problemformulering: Hur påverkas festivalkänslan av säkerhetsarbetet på musikfestivaler?  Syfte: Syftet med undersökningen är att beskriva balansen mellan vad som anses vara otillräcklig respektive överdriven säkerhet i relation till besökarnas festivalkänsla. Metod: Studiens syfte besvaras utifrån en kvalitativ, induktiv metod. Insamling av empiri har skett genom intervjusamtal med totalt nio informanter som antingen har varit involverade i arbetet med en musikfestival eller besökt flertalet musikfestivaler. Tematisk analys har använts som tillvägagångssätt i analys av empirin. Slutdiskussion: Studiens resultat visar på att säkerhetsarbetet och dess utförande har en stor påverkan på besökarens festivalkänsla i många fall. Festivalbesökaren visar i regel förståelse och acceptans för arrangörens säkerhetsåtgärder och säkerhetsarbetet är en förutsättning för att besökaren ska känna sig trygg. Festivalbesökare känner sig ofta som mest otrygga utanför festivalområdet och där är det svårt att avgöra hur stort ansvar festivalarrangören kan/bör ta för sina besökare. / Background & problem: Security constitutes a significant part of the production of music festivals, since there is a risk for both minor and fatal incidents. However, in relation to the visitor’s “festival-feeling” there is a risk for the security work to be viewed as insufficient as well as excessive. Problem statement: How is the “festival-feeling” affected by the security work at music festivals? Purpose: The purpose of the study is to describe the balance between what is considered to be insufficient as well as excessive security in relation to the attendees “festival-feeling”. Method: The purpose of the study is fulfilled through a qualitative, inductive method. In order to collect the empirical data, nine interviews were carried out with people who have either been involved in the work at music festivals or have been to a lot of music festivals. Thematic analysis was used as the approach to analyze the empirical data. Conclusion: The result of the study indicates that security-work and how it’s executed has a significant impact on the attendees’ “festival-feeling” in many cases. The attendees show understanding and acceptance of the security-work, and that security measures are a prerequisite for the attendees to feel safe. Festival attendees feel more unsafe outside the festival area, which makes it difficult to determine how much the festival organizer is responsible for in regard to the attendees.

No description available.

The 1920 Amsterdam Mahler Festival (the Mahler-Feest) was cast simultaneously as a celebration of Gustav Mahler’s life and works around a decade after his death, a jubilee honoring Willem Mengelberg on his twenty-fifth anniversary as director of the Concertgebouw Orchestra, and a grandiose return to public concert life following the First World War. In this dissertation, I argue that the festival’s organizing committee had yet another lofty goal: to turn this musical event into an unofficial diplomatic gathering, bringing artistic representatives together from across the Western world under the shared belief that the festival—and specifically the music of Gustav Mahler—would pave the way toward a more unified Europe after the turbulent years of the 1910s. Throughout this project, I analyze various elements of the Mahler-Feest through both musicological and political-historical frameworks, showing that every aspect of the festival was carefully designed to convey a spirit of internationalism and universality to those in attendance. Among these elements were the assembly of prominent guests from around the Western world, the performance of chamber music written by composers from various nations alongside the central program of Mahler’s works, the signing of a Manifesto of Foreign Guests promoting similarly politicized festivals in the future, and the establishment of a global Mahler Union that was to be headquartered in Amsterdam. I further demonstrate that the internationalistic aspects of the event also promoted an underlying nationalistic ideology, with the festival serving to support the diplomatic goals of the Dutch state, which sought to posit itself as a neutral site for dialogue and mediation among nations during the early decades of the twentieth century. Among the central figures in this dissertation is Rudolf Mengelberg—the Concertgebouw’s program annotator and a distant cousin of Willem—who, through his expansive program book written for the festival, casts Mahler as the composer whose music best matched the political framing of the event. To further analyze the Mahler-Feest, I compare this Mengelberg’s characterizations of Mahler with the viewpoints and beliefs that the composer expressed during his own lifetime, showing that Mengelberg took advantage of historical ambiguities to promote his politicized interpretations of Mahler without directly contradicting the documentary evidence available at the time. At the end of the dissertation, I assess the impact that the perspectives advanced at the festival have had (and continue to have) on the broader realm of Mahler scholarship across the past century, and I briefly examine the evolution of the Mahler-centric festival from 1920 through the present day. Methodologically, this study uses archival evidence to bring together lines of inquiry spanning the fields of musicology, political history, anthropology, and the emerging discipline of festival studies.

<p>Umeå is a city that is known for its music scene. Credible bands and artists have consequently sprung out and put the city on the map for as long the authors of this paper can remember. The city has a specific image and this study seeks to shine a light on how this came to be. Has there been a conscious marketing strategy in order to gain the reputation that Umeå has, or is the city’s music scene so prominent that it speaks for itself? Data for the study were collected through conducting qualitative interviews with the producers of the two music festivals Umeå Open and Umeå International Jazz Festival. The results show that cultural visions and marketing are constantly interacting, but to the authors’ knowledge, no conscious decisions have previously been taken to market Umeå as a city of music. Still, with current acts like Deportees, David Sandström and Frida Hyvönen just to mention a few, the image of Umeå is more justified than ever.</p>