This Master Thesis maps the scene of the professional theaters in Prague from the spectators' perspective. Consequently it points out the most important motivation factors for each market segment that leads people to visit the shows. The theoretical part defines the terms theater and drama. It also analysis theater market in the Czech Republic and Prague's professional drama scene. Moreover, it specifies a marketing mix in the context of theaters, introduces the basic principles of marketing research and states the fundamental basis for a theory of motivation. Analytical part is based on a quantitative research realized through a questionnaire survey. Subjects were Prague residents, both men and women across all age groups and different levels of education. Minor improvements for theaters marketing strategy were proposed according to the research findings. Particular attention was paid to the special theatrical events held in Prague.

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Uppsatsen syftar på att skapa en bild av hur mindre artister bör marknadsföras digitalt. Huvudfokuset ligger på festivalspelningar där flertal artister spelar under antingen en dag eller flera dagar. Intervjuer har gjorts med ett antal mindre artister samt managers för att få deras syn på hur de marknadsför sig själva. Intervjuerna innehåller frågor angående digital marknadsföring för festivalspelningar. Dessa är till exempel vilka sociala medier de använder och hur mycket ansvar artisten själv har när det kommer till marknadsföring. Mindre artister kan tjäna mycket på festivalspelningar då deras fanbase växer när de spelar med andra artister och nya individer upptäcker deras musik. Vikten i att vara unik som artist diskuteras även då artister måste hitta ett sätt att nå ut till sin publik och konkurrera med många andra artister. Även om detta är väldigt viktigt för artister måste de ändå vara vanliga nog för att passa publiken och göra dem nöjda. Att skapa en image som målgruppen kan relatera till är viktigt då det ger dem en känsla av äkthet och samhörighet genom deras marknadsföring. För att göra detta bör artisten skapa ett “paket” för marknadsföringen som reflekterar den image som artisten har. Genom att använda sig av en bild och video som matchar musiken kan de skapa en helhet i sin marknadsföring. Det finns även ett sammanhang mellan digital och fysisk marknadsföring där ett exempel som Spotify codes tas upp. Detta är en kod som kan sättas på posters som folk kan skanna med sina mobiler som leder dem till artistens Spotifysida. Detta gör det lättare för kunder att hitta nya artister och även komma ihåg dem. Sedan blir det en större interaktion för kunden vilket gör att de blir mer involverade i marknadsföringen. Artister och festivaler kan också använda varandras kanaler för att marknadsföra varandra. Artister kan till exempel förmedla att de ska spela på en festival för sina fans vilket gör att de blir mer intresserade att gå på festivalen. Festivalens marknadsföring leder även till nya fans för artisten. Artist och festival måste alltså samarbeta för att locka så många människor som möjligt till festivalen.

The purpose of this thesis is to acquire a deeper understanding of advantages and disadvantages of having a wide target group within Swedish festivals or events, and how they can maintain it through the three concepts customer experience, cocreation value and brand image. This research will be conducted through relevant topics that have been identified, studied and analyzed in order to fill the existing research gap. This leads the thesis into its three research questions: What are the advantages and disadvantages of a wide target group for an organizer in a festival or event context? How does organizers of a festival or event actively use the concepts customer experience, co-creation value and brand image? and What is the common denominator that makes a wide target group possible within a festival or event context and makes the customers return? Since the research area were considered as unexplored, the thesis is a qualitative research with a deductive research approach. It has been based on interviews with five respondents from areas that are considered relevant to answer the research question and achieve the purpose. The literature review in this thesis includes theory that are related to target group, customer experience, co-creation value, brand image and festivals and events. The theory chapter have then resulted in a conceptual framework where the different topics are explained in a summarize that demonstrates the relations between them and the different theories. The theory chapter have then been used to analyze the empirical data that where gathered through different companies that are involved in either a festival or event. The empirical and analysis chapter includes a discussion where the empirical data, theory, and statements are presented, compared and analyzed. This is followed by the conclusion chapter that contains answers of the research questions, implications, recommendations, and lastly future research. As this thesis introduces target groups in a context that is seen as new and unexplored, the thesis can be seen as unique and be valuable for Swedish companies that consider to expand and conduct a wide, or wider, target group.

La musique et la danse constituent le noyau de la vie rituelle d’une confrérie au statut particulier, par rapport aux autres confréries du soufisme marocain, il s’agit des adeptes gnawa. Présenter comme les descendants d’anciens esclaves, les gnawa réconcilient dans leurs rituels des éléments mythiques qui les situent dans un entre-deux entre le licite et l’illicite, l’ici et l’ailleurs. Loin de s’achever dans des dichotomies de principes, leurs pratiques sont de fait plurielles et suggèrent un espace ou la logique communautaire est mise au service de la représentation de soi. Les transformations accélérées et les changements d’échelles qui affectent les mondes contemporains réorientent les modes d’existence des acteurs à travers des pratiques complexes et délibérées de performance, de représentation et d’action. Les éléments culturels gnawa sont mis en scène sous de nouveaux labels et poursuivent de nouveaux enjeux ou la référence culturelle masque le déni d’égalité entre les individus. Longtemps marginalisés, les gnawa sont aujourd’hui célébrés dans des espaces transnationaux qui poussent l’observateur à s’interroger sur les rapports entre sens social et liberté individuelle dans le monde contemporain. / Music and dance constitute the heart of ritual life provide the center of ritual life for a friary with particular status regard to the other friaries of Moroccan Sufism, the gnawa practitioners. Exploring their connexion to slavery the gnawa performed in the ritual cultural elements that place them in a space between the legal and illegal, the here and elsewhere. However those dichotomy are flawed, their practices are various and suggest a space where the community manage a representation of themselves. The changes of scale that affect the contemporary world renew the ways of existence of social actors. This position put the terms of reconstruction and management of gnawa identity in the perspective of ‘simultaneity time’, where culture is caught in an accelerated movement of time and space. Their practice is hardly of only local interest, circulating on the global market, rebuilt by different actors, this gnawa circulation bring to the light the understanding of tradition, patrimony, identity and otherness.

This descriptive correlational study examined the relationship between high school band directors' teaching style and personality and their ratings in marching and concert band festivals using the Five-Factor Model of personality and Gumm's Music Teaching Style Inventory. The sample (N=176) consisted of 46% of all high school band directors in Florida. Criterion variables included marching and concert festival ratings, state concert band ratings, Florida Marching Band Coalition marching competition scores, frequency of attendance of these last two events, and the balance between marching and concert band. Predictor variables included thirty personality facets and eight teaching styles. Four demographic variables included gender, experience, academic degree, and primary instrument. One predictor, Time Efficiency, stood out as having particularly strong correlations with all of criterion variables. Regression models produced the following findings: 23% of the variation in concert band ratings can be explained from Time Efficiency, Immoderation, Music Concept Learning Assertiveness, and Nonverbal Motivation; 22% of the variation in marching band scores can be explained by Time Efficiency, Music Concept Learning, Imagination, Modesty, Cheerfulness, and Anxiety; 20% of the variation in participation in state Florida Bandmasters Association concert band festival participation can be explained by Time Efficiency, Positive Learning Environment, Immoderation, Music Concept Learning, Group Dynamic, and Assertive Teaching, and 11% of the variation in FMBC competitive marching band event attendance can be explained by Time Efficiency, Nonverbal Motivation, Dutifulness, and Modesty. Most subjects (84.3%) were balanced, while the remaining 15.7% were marching oriented. There was no significant difference in marching ratings between groups, although balanced subjects scored significantly higher in concert band and attended significantly fewer marching competitions. A discriminant function selected four predictor variables with a significant effect: Assertiveness, Immoderation, Adventurousness, and Emotion (Wilks' λ = .84, χ2 = 23.42, df = 4, p less than .001) which was able to successfully predict group membership 72.3% of the time. Recommendations include emphasizing the concert band as the core and playing concert music all year. Directors may benefit from being cognizant of their personalities and teaching styles which may enable them to modify their behavior and practices when appropriate to be more effective teachers.

Eine Untersuchung zum königlichen Ritual des sogenannten Sedfestes im Alten Ägypten anhand der Sedfestreliefs vom Torbau Osorkons II. in Bubastis.

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