This work deals with Latvian Song Festivals as an important phenomenon in Latvian history which started in Latvia in 1873. Their basis lays in choir singing developed in Latvia on a massive scale in 2nd half of 19th century. The festivals probably continued old tradition of singing - so-called teicamās dziesmas which had a similar structure as modern choirs. The development of choir singing is connected with Herrnhuterian schools and pedagogical colleges. The personality playing an important role in this process was a chief pedagogue in Valmiera Jānis Cimze whose collection Dziesmu rota launched a discussion about the future of Latvian culture from the point of view of national identity. Although the structure of Latvian Song Festivals was taken over from the Baltic Germans the idea of national identity has been involved since the beginning. Forming of Latvian national identity was in its beginnings influenced by J. G. Herder's philosophy and his idea of Volkslied and Volksgeist and it is closely connected with Latvian folk songs. It corresponds with Latvian self-determination as the nation of singers. In four historic periods defined by socio-political changes on Latvian territory these ideas together with a strong national element is found exactly in Latvian Song Festivals. The festivals become a...

Esta pesquisa buscou compreender as aprendizagens e práticas musicais presentes e desencadeadas no e pelo Festival Música Estudantil de Guarulhos, que teve caráter competitivo e focou as músicas produzidas por estudantes. O objetivo do evento foi o de mobilizar as escolas do município de Guarulhos – SP, e, dar visibilidade às ações músico-pedagógicas nelas desencadeadas. Organizado pela Secretaria de Cultura do município, o Festival envolveu professores e gestores escolares, gestores municipais e, especialmente, 23 grupos musicais formados por jovens estudantes. O evento foi aberto a todas às formações de grupos instrumentais/vocais e a todos estilos/gêneros musicais, o que resultou em uma variedade significativa de jeitos e formas de tocar e cantar. Organizado em duas semifinais e uma final, o evento teve como premiação prometida a gravação de um CD com as dez músicas finalistas. As questões que guiaram a pesquisa foram: Que práticas musicais juvenis aparecem no evento? Como elas apareceram? Que ações músico-pedagógicas o Festival pôde mobilizar nos jovens participantes? E na escola, como isso ocorreu? Em que medida os jovens participantes, e a escola, interferiram nas decisões e na dinâmica do Festival? Para discutir estas questões, enfoquei o Festival de Música Estudantil de Guarulhos considerando que sua dinâmica e funcionamento potencializam aprendizagens musicais para os envolvidos. O Festival foi tomado como uma ação criada a partir de uma política pública, que pode congregar e remodelar práticas culturais no âmbito da música. A pesquisa foi orientada pela abordagem qualitativa e teve como método investigativo o estudo de caso. A inserção em campo se deu entre os meses de outubro de 2011 e junho de 2012, e os dados construídos no trabalho de campo constituíram-se em: 1) observações com registros fotográficos e em audiovisual das eliminatórias e a final do festival de 2011; 2) entrevistas semiestruturadas com os integrantes das bandas e grupos musicais, a equipe pedagógica das escolas participantes, e a equipe organizadora do Festival – incluindo funcionários da Secretaria de Cultura do Município de Guarulhos e da Secretaria de Educação do Estado de São Paulo; e, 3) documentos relativos ao evento. Os dados da pesquisa permitem a compreensão da dinâmica, da estrutura, e do potencial músico-pedagógico imbuídos nesse tipo de evento. Ao longo do Festival ocorreram diversos momentos profícuos em aprendizagens musicais, tais como a preparação dos jovens estudantes para o evento, e, as situações em que os organizadores possibilitaram o contato deles com outros músicos que lhes passaram dicas e instruções musicais. O Festival alavancou a prática musical de vários jovens e modificou o cenário escolar a partir do engajamento de estudantes e professores com composições, organização de bandas e apresentações musicais. Os resultados mostram que o Festival extrapolou o espaço e o calendário formalmente estabelecido pelos organizadores, contemplando a vida e a música de seus participantes. / This research aimed at understanding the learning and musical practices triggered in and by the student music festival in Guarulhos. The festival had a competitive nature and focused on the songs produced by the students. Another as important objective was to mobilize the municipal schools in Guarulhos – SP, and also highlight the music education actions developed there. This event was organized by the Municipal Department of Culture involving teachers, school and municipal managers and, especially, twenty-three music groups formed by young students. It was open to all instrumental/vocal groups of any formation and music style, which resulted in a great variety of manners of singing and playing music. The festival had two semifinals and a final, the prize was the recording of a CD with the ten best songs. The leading questions to the research were: What are the juvenile musical practices present at the event? How did they appear? What music education actions did the festival cause in the young participants? And at school, how did that happen? To what extent did the young participants – and the school – interfere in the decisions and dynamics of the event? In order to discuss these questions, the research focuses the student music festival in Guarulhos based on the arguments of field of music education has – understood as a field of knowledge that takes interest in the processes of music teaching and/or learning. The research was guided by the qualitative approach and had a case study as the investigative method. The inclusion in the field occurred between the months of October 2011 and June 2012. The resulting data consists of: 1) audiovisual and photographic records of the playoffs and the final in 2011; 2) semi-structured interviews with participating groups, participating schools’ pedagogical team, and the organizing staff of the Festival - including people from the Department of Culture of Guarulhos and people involved in the Education Department of the State of São Paulo; and, 3) festival-related documents and reports. The resulting data allow the understanding of aspects such as the dynamics, structure, and the music and educational potential present in this kind of event. There were several fruitful moments of music learning during the festival, such as the students’ preparation for the event, and the possibility the organizers gave them to be in touch with other musicians who provided them with hints and instructions concerning music. The festival boosted the music practice of several young students, changing the school setting from the commitment of students and teachers in composing, forming groups, and the music performances. The results show that the festival went beyond the space and schedule the organizers had formally established – by contemplating its participants’ life and music.

金馬影展對台灣藝術電影影迷而言，就像是場神聖的盛宴，在這場儀式中，透過群體的力量，讓信念的力量益發強大。本研究嘗試依循「朝聖」（pilgrimage）的角度，將金馬影展的觀影者，視為一種信仰著藝術電影教派（cult）的信徒，他們的身份不只是閱聽人或消費者，而是一種參與者（participants）。 本研究分為三階段進行。第一階段針對金馬影展三十年來（1980～2009）的影片清單進行歷史性檔案研究，歸納出金馬影展播映影片的脈絡。第二階段對影展觀眾進行問卷調查與參與觀察，以期歸納出金馬影迷的外在觀影行為，並透過田野調查實際了解金馬影迷的參與過程。第三階段則是對影迷進行深度訪談與生命史訪談。在影展現場找尋了78位金馬影迷進行訪談，另針對3位具代表性的影迷，分別透過他們參與金馬影展的經歷，來進一步認識歷年金馬影迷參與的過程。 本研究發現金馬影展的儀式概念（The Cult of Film Festival）主要來自於三者：在時間性而言，因一年一度有如逢年過節的「週期性」而營造了儀式感；在空間性而言，因影片與影迷的「齊聚性」而營造了儀式感；除了這兩者之外，要達到類宗教的景仰標準，勢必還要有「神聖性」的概念，其神聖感則是來自於電影大師的作品，所帶來的崇拜心態。 至於影迷的朝聖歷程，本研究以三位影迷的生命史作為引述，介紹20、30、40歲各個世代的影迷，究竟是什麼樣的樣貌。而後根據大量深度訪談、田野觀察與問卷調查的結果，搭配儀式結構的模式，描繪出金馬影迷單次旅程與生涯歷程。在單次旅程的部份，可以分作「前影展時期」、「影展時期」與「後影展時期」，三者中尤以前影展時期的套票搶購與排隊劃位最具儀式性特質。在生涯歷程的部份，亦可分作「前影迷階段」、「影迷階段」與「後影迷階段」，此三者之間主要差異，是以對電影的重視、迷戀與可犧牲程度作為劃分標準。 / For art cinema fans of Taiwan, Golden Horse Film Festival just like a sacred Feast, fans gathered together every year, that increasingly the forces of faith in the ritual. This study attempts to follow the "pilgrimage" view, to imagine that Golden Horse Film Festival audience as the cult followers, their identity is not just the audience or consumers, but a participants. This study is divided into three stages. First is the archive research of Golden Horse Film Festival for the thirty years (1980~2009). Second is the festival audience questionnaire survey and participant observation, to understand the fans viewing behavior. The third stage is life history interviews. The study found that the “ritual” or “cult” concept of Golden Horse Film Festival mainly from the three points: the timing, the result of annual holidays, like the "cyclical" and created a sense of ritual; in the space, for film and fans of the "gather" of the ritual to create a sense; In addition to these two, the religious admiration to achieve the standard class is bound to also have "sacred" concept, its sacred sense is from master's work in the film, brought the worship mentality. For fans of pilgrims journey, the study quoted by three fan’s life history, describes the various generations of 20,30,40 years old. Then according to a large number of interviews, field observations and findings of the survey, with the ritual process model depicts a single journey and the career of the cinephiles. In a single part of the journey, we can divided into "pre-festival period", "Film Festival Period" and "post-festival period". Part in a career of the cinephiles can be divided into "pre-cinephile stage", "cinephile stage" and "post-cinephile stage", the main differences between the three is based on the film's importance, degree of obsession and expendable as the division of standard.

「簡單生活節」是個自2006年底開始、每兩年舉辦一次、位於台北市中心華山1914文創園區的大型活動，以城市的生活風格為主軸，「做喜歡的事，讓喜歡的事有價值」為號召，內容涵括音樂、市集、論壇等，多元且具創新。活動為期兩天，三屆下來每屆均有超過三萬人入場，更創下上千萬元的消費，不論規模、經營模式在國內皆可說是首見。 在國內開始注重文化創意產業之際，究竟簡單生活節的經營模式為何？活動能持續舉辦的核心能耐為何？需要哪些利害關係人的資源投入？國內對於大型文創活動的價值經營研究較少，本研究以價值共創的角度，探討簡單生活節（1）由哪些人共創，創造了什麼價值，（2）為各利害關係人帶來什麼價值。另外也由主辦者的角度，去探討（3）如何和各利害關係者進行價值共創，以及（4）要讓活動長期經營、價值極大化需要哪些要素。 本研究發現，（1）參與簡單生活節共創的角色有參與者（演出者與擺攤者）、贊助者（最大宗為統一超商）、場地提供者（華山文創園區）、支援平台（StreetVoice），彼此因認同簡單生活風格而集結，其創造的價值為風格型態的品牌價值以及宣傳平台價值，而活動讓（2）參與者得到金錢效益以及增加曝光度、贊助商得到金錢效益和品牌效益、場地提供者得以累積能耐以及增加曝光度、StreetVoice網路平台增加使用者的黏著度。（3）主辦者透過四大基石與利害關係人共創價值：設立支援平台以累積創意能量、讓利害關係者參與設計互動方式、互動密切頻繁、雙方相互提供價值，（4）組織層面須要能體察社會趨勢的領導者，以及藝術和商業頭腦兼具的A型團隊；營運層面需要明確的商業模式，不只在共創過程中和各利害關係者累積長期良好的合作關係，還要能將關鍵資源運用至關鍵流程中，而發展背後的支援平台更是活動長期經營的關鍵。 / SimpleLife festival, a big cultural two-day event in Taipei Huashan1914 Creative Park every two years since 2006, which attracts more than 30000 people and generates considerable income. It is a collaborative creation on lifestyle aesthetics which combines music, markets, exhibitions and lectures, and the scale and business model are very innovative in Taiwan. Hence, what are the values from this event and how to co-create it are the precious issue. This research explains: (1) What values do SimpleLife festival create and who are the stakeholders? (2) What are the values for stakeholders? (3) How does conductor co-create with stakeholders? (4) For conductor, what are the key factors to maximize value of holding SimpleLife festival? The findings of this research demonstrate：(1) Participants, sponsors(7-ELEVEN), place provider(Huashan1914 Creative Park), and internet platform(StreetVoice) are the stakeholders of SimpleLife Festival, they gathered by identifying the same lifestyle concept. It creates brand value of lifestyle and promoting value. (2) Participants get income and promoting value; sponsors get income and generate branding; place provider gains awareness and core competence, and backup platform increases stickiness from users. (3) The conductor co-creates with stakeholders by utilizing four powers: build platform, enhance engagement of stakeholders, interacting frequently, and provide values. (4) For organizations, leaders with trends investigation and a team with both commerce and art brain are needed. For operation, clear business model is needed, not only define clear key resources and key process, but build the backup platform is the key factor of operating in the long run.

<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>

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.

No description available.

本論文關注當代壯族民間使用銅鼓的現況，探討銅鼓作為承載傳統文化之物，在面對中華人民共和國政府非物質文化遺產政策下，如何創造出新的銅鼓使用價值。在比較多個壯族在節慶中使用銅鼓的地點，我以紅水河流域為主，走訪廣西河池市轄下的三縣共七個地點，以多點民族誌的田野調查方法，在春節期間最常使用銅鼓的螞虫另節與其他敲銅鼓的節日中進行田野調查。 我在本研究有四點發現：一、新鼓的製作與販售，使紅水河各持有銅鼓之村寨數量增加，並改變原先使用習慣、分布位置以及存放方式。二、節慶中新鼓、老鼓的使用情況如下：持有老鼓的地區多位處山上；新鼓的使用受到政府政策與經費的影響。銅鼓傳統的儀式性功能在節慶中逐步轉變，造成新、舊銅鼓走向活動用品與文物藏品的分岔路。三、銅鼓的功能性隨著不同地方與時間的移動，促使壯族的宗教與宇宙觀隨之縮減。而當地人口再次外移時，銅鼓的表演性異於過去農耕時的儀式性質。四、政府、地方幹部、麼公、地方人士與媒體五種銅鼓使用者對銅鼓的看法或關係：1.政府跟地方人士對於銅鼓的使用常處於不同的看法。2.地方幹部視銅鼓為權力的象徵或展示品，作為向外界尋求更多資源之物。3.麼公藉由銅鼓維持自己的地位與特殊性。4.部分地方人士視銅鼓為籌碼，擁有聲望與地位的物品，或為賺錢的文化商品。5.政府主導下，致使政府跟媒體對於地方銅鼓使用的看法不同，導致地方人士的聲音被埋沒。 / This study concerns the current situation of bronze drum use in Zhuang society; it concerns drums as a traditional cultural carrier, and in what way drums create new value in the context of the Chinese government’s Intangible Cultural Heritage policy. Looking for locations where bronze drums are used in Zhuang festivals, I chose the Hongshui River watershed and did fieldwork in 7 locations in 3 counties within Guangxi Hechi region. Through multi-sited ethnography, I did fieldwork during the Spring Festival and other festivals in which bronze drums are used. In this study, I made four important discoveries. First, the production and selling of new drums increase the number of bronze drums stored in each village and also changes people’s habits, the geographic distribution of drums, and the ways in which they are stored. Second, the situation of using new or old drums during festivals is that most old drums are located in mountainous areas, and the use of new drums is influenced by the Chinese government’s policy and subsidies. The drums’ traditional ritual function during festivals in gradually changing to a pattern in which new drums are used for activities and old drums become collectur’s items. Third, Zhuang religion and treditional world view are diminished while the drums’ functionality shifts in pace with place and time. When the local population migrates to the cities, the performance of bronze drums is different from their ritual nature in the past agricultural period. Fourth, the government, local officers, vernacular priests, local people, and the media have five different views in relation to bronze drums, such as: 1. the government and local people have different views about bronze drums; 2. local officers view about bronze drums as the symbol of authority or displays, giving them the jurisdiction to seek more resources to the outside world; 3. vernacular priests utilize bronze drums to maintain their own status and particularity; 4. a fraction of local people treat bronze drums as a bargaining chip to enhance their own prestige and status, or for goods; 5. dominated by the Government, so that the local government with the media have different views about bronze drums, which decreases local people’s voice on bronze drums use.

Thesis (M.Tech: Tourism and Hospitality Management)--Tshwane University of Technology, 2012. / Looks at the nature of jazz festival tourists in South Africa, their motivations, behavioural intentions and how attendees can be effectively segmented in order to guarantee visitor satisfaction and loyalty.

Tyrimo tikslas: Ištirti marketingo komunikaciją organizuojant Pažaislio muzikos festivalį remiantis lankytojų vertinimu. Probleminis klausimas: Kokios Pažaislio muzikos festivalio rengėjų pasirinktos marketingo komunikacijos priemonės yra pastebimiausios lankytojų? Tyrimo objektas: Marketingo komunikacija Pažaislio muzikos festivalyje. Tyrimo uždaviniai: 1. Atskleisti kultūrinio turizmo sampratą ir renginių organizavimo teorijos nuostatas. 2. Išanalizuoti marketingo komunikacijos teorinius aspektus. 3. Ištirti Pažaislio muzikos festivalio lankytojų požiūrį į kuriamą marketingo komunikaciją. 4. Nustatyti, kurios Pažaislio muzikos festivalio rengėjų naudojamos marketingo komunikacijos priemonės buvo labiausiai pastebėtos festivalio lankytojų. Rezultatai ir išvados: 1. Kultūrinis turizmas tai specifinė turizmo sritis, apimanti įvairius kultūrinius išteklius, tradicijas, istoriją. Vienas iš šios turizmo srities elementų ir turistų traukos objektų yra organizuojami kultūriniai renginiai. 2.Marketingo komunikacijos procesu siuntėjas siekia perduoti norimą informaciją apie prekę ar paslaugą gavėjui, bandydamas ne tik sukurti norimą žinomumą ir įvaizdį vartotojo sąmonėje, bet ir užmegzti ryšį tarp tos paslaugos ir vartotojo, tuo pačiu siekiant didinti kliento lojalumą. 3. Tyrimo metu paaiškėjo, kad daugiau nei keturi penktadaliai apklaustųjų pažymėjo jog jų nuomone marketingo komunikacijos priemonės yra efektyvios. Taip pat gauti rezultatai rodo, kad festivalio marketingo... [toliau žr. visą tekstą] / Question of investigation: Which Pažaislis Music Festival organizers selected marketing communication tools are noticeable of festival visitors? Object of investigation: Marketing communication in Pažaislis Music Festival. Aim of investigation: To explore marketing communication in Pažaislis music festival based on festival visitors evaluation. Objectives of the study: 1. To educe cultural tourism and event organization features. 2. To analyze the theoretical aspects of marketing communications. 3. To explore Pažaislis music festival visitors assessment of event marketing communications. 4. To find out which Pažaislis music festival organizers used marketing communication tools were the most observed of festival visitors. Conclusions: 1. Cultural tourism is a specific tourism segment, covering a variety of cultural resources, traditions, and history. Organized mass cultural events is one of the tourists attraction elements. 2. In marketing communication process sender using marketing communication tools and channels to transmit information about the product or service to costumer, and trying to create the image service in user's consciousness, also to establish the relationship between services and the consumer at the same time increase customer loyalty. 3. The study revealed that more than four-fifths of respondents said that they believe the marketing communication tools are effective. Also, the results show that the festival marketing communication tools were usually... [to full text]