Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Through visual rhetoric analysis inspired by ”green communication” this essay aims to shed light on the differences in sustainability communication between two music festivals in Sweden. To be environmentally fatigued, to be tired of the environmental transition which is crucial for the survival of inhabitants of the earth, and the environment itself, is not ethically responsible. This essay strives to bring forward the specific aspects which inspire a festival with a sustainable profile, how it communicates, versus a festival with a non sustainable profile. One is found to use a rhetoric which promotes sustainability in an effective way, although the rhetoric is flawed by different factors of their communication. Another ignores the sustainability aspects completely in the rhetoric of their festival, and instead puts focus on energy, happiness and love, which contrasts against the apparent negative values they express.

張武宜. / "2013年9月". / "2013 nian 9 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 229-239). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Wuyi.

In the United States, school music groups perform in some sort of music festival every year. Most festivals are competitive in some way, but non-competitive festivals exist as well—even if they are not as well known. The purpose of this study is to observe an elementary school choir as they prepare for and participate in the “America Sings!” festival—a non-competitive music festival—in Washington, D.C. on May 4–5, 2014. This investigation sought to answer the following research questions: 1) What guides the decision to participate in the “America Sings!” festival?; 2) For the choral director, what personal experiences and past musical backgrounds shape the teacher’s feelings and attitudes about participating in an “America Sings!” festival?; 3) What are the benefits and challenges of attending an “America Sings!” festival?; 4) Does the service component of the “America Sings!” festival affect the participants?; 5) Does attending a non-competitive festival affect the self-reported attitudes of students and their teacher?; and 6) What range of student behaviors can be observed during their preparation for and performance in the “America Sings!” festival? Using qualitative case study, this study employed direct observation of the entire choir as well as recorded interviews with six students and their teacher. After data analysis, open coding, and theme construction, common themes began to emerge into two groups: pre-trip (performing, comparing types of festivals, preparation, service projects, and John Jacobson) and post-trip (benefits and challenges, performing, learning, John Jacobson, the “America Sings Effect”, and comparing types of festivals). These themes are presented, the research questions are answered, and recommendations are made for future researchers as well for those in the profession.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:44:42Z No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) / Made available in DSpace on 2017-07-11T12:44:42Z (GMT). No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) Previous issue date: 2017-06-22 / Entertainment occupies a privileged position in contemporary society, based on consumption and visibility, result of new socioeconomic and cultural dynamics, which the spectacle is one of its manifestations. The current scene of the music industry suggests other ways of consuming music, motivating interest in understanding the evolution of festivals and the consequent reinvention of previous practices. A better comprehension of this context justifies the choice of Rock in Rio music festival as an object of study. The event underwent a remarkable change throughout its history: from a first edition of difficult set up, in 1985, until its consolidation as a brand of global impact. The research corpus covers the 1985 and 2015 Rock in Rio editions, manifested in audio-visual texts of their main artists’ performances, such as Queen and Metallica; communication pieces of sponsoring brands of the festival in 2015; And the spatial configuration of the Cidade do Rock in the thirty years commemorative edition of Rock in Rio, from which are apprehended the emerging senses of the lived one, given that its structure conditions the interactions between the subjects that make the fruition experience of the event and its value construction happen. The proposed study seeks to show that Rock in Rio is unique as a collective experience. Its methodology of analysis and theoretical foundation addresses Greimas' semiotics and its unfolding, such as Landowski's sociosemiotics (2014a; 2014b) and its dynamics of sense and interaction regimes between subjects, besides the contributions of semioticists of the French line who develop studies on the relations between expression and content, spatiality and the semiotics of situations. The perception of spectacle by Charle (2012) is fundamental to better achieve the suggested analyzes. In the expectation of these conceptions guiding the research in the comprehension of the topics addressed, we have the support in a literature that allows the understanding of the socio-cultural and economic movements that transform entertainment into consumption goods, like the work of Pine and Gilmore (2011), and the emergence of the audience as the subject of the show, based on the contributions of Rancière (2012). The investigation confirms the hypothesis that the sensitive experience articulated to the construction of value of the festival by a complex destinator is what makes the audience loyal to Rock in Rio, which is revealed to be a strong brand of the entertainment during its thirty years of history / O entretenimento ocupa posição privilegiada na sociedade contemporânea, fundamentada no consumo e na visibilidade, resultado de novas dinâmicas socioeconômicas e culturais, das quais o espetáculo é uma das suas manifestações. O cenário atual em que se insere a indústria musical sugere outras formas de consumir música, motivando o interesse em compreender a evolução dos festivais e a consequente reinvenção de práticas precedentes. Uma maior compreensão desse contexto justifica a escolha do festival de música Rock in Rio como objeto de estudo. O evento passou por uma mudança notória no decorrer de sua história: de uma primeira edição, em 1985, de difícil construção, até a sua consolidação como marca de impacto global. O corpus da pesquisa abrange as edições do Rock in Rio de 1985 e de 2015, manifestadas em textos audiovisuais das performances de seus principais artistas, como Queen e Metallica; as peças de comunicação de marcas patrocinadoras do festival em 2015; e a configuração espacial da Cidade do Rock na edição comemorativa dos trinta anos do Rock in Rio, da qual são apreendidos os sentidos emergentes do vivido, dado que sua estrutura condiciona as interações entre os sujeitos que fazem a experiência de fruição do evento e de sua construção de valor acontecer. O estudo proposto busca dar a ver que o Rock in Rio faz-se único como experiência coletiva. Tem como metodologia de análise e fundamentação teórica a semiótica de Greimas e seus desdobramentos, como a sociossemiótica de Landowski (2014a; 2014b) e sua dinâmica dos regimes de sentido e de interação entre sujeitos, além das contribuições de semioticistas da linha francesa que desenvolvem estudos sobre as relações entre expressão e conteúdo, a espacialidade e a semiótica das situações. É fundamental a percepção de espetáculo por Charle (2012) para uma melhor consecução das análises sugeridas. Na expectativa dessas concepções orientarem a pesquisa na compreensão dos temas abordados, tem-se o apoio em uma literatura que permite o entendimento dos movimentos socioculturais e econômicos que transformam o entretenimento em bem de consumo, como a obra de Pine e Gilmore (2011), e a emergência do público como sujeito do espetáculo, a partir das contribuições de Rancière (2012). A investigação confirma a hipótese de que a experiência sensível articulada à construção de valor do festival por um destinador complexo é o que fideliza o público ao Rock in Rio, o qual se revela uma forte marca do entretenimento no decurso de seus trinta anos de história

Este trabalho tem como foco de interpretação histórica a produção musical autoral dos compositores riograndinos destinada à participação em festivais de música realizados ao longo da década de 1970 na cidade do Rio Grande – RS. Neste sentido, balizando a pesquisa em uma abordagem contextual, procuro descrever como os artistas da época, desvinculados dos meios de comunicação, da indústria do disco e do mercado cultural, produziam suas canções, em um ambiente hostil, onde a censura, a repressão e a tortura, foram práticas comuns, e os festivais de música um dos poucos canais de expressão cultural da população local, ainda que sofressem a interferência direta de grupos ligados as elites políticas e econômicas que possuíam interesses bem definidos quanto aos proveitos que estes eventos poderiam reverter. / This work focuses on the historical interpretation of the musical production of composers riograndinos copyright intended participation in music festivals held throughout 1970 in Rio Grande - RS. In this sense, it marks out the research in a contextual approach, I try to describe how the artists of the time, unlinked media, the recording industry and the cultural market, producing their songs in a hostile environment, where censorship, repression and torture, were common practices, and music festivals one of the few channels of cultural expression of the local population, though suffered direct interference from groups linked to political and economic elites who had well-defined interests regarding the income that these events could reverse.

Syfte och forskningsfråga: Vi ställer oss frågan hur festivalarrangörer kan stödja kundens upplevda värde genom utformningen av servicelandskapet. Fortsatt är syftet med denna uppsats följande: Att klargöra servicelandskapets betydelse för kundens festivalupplevelse Att tydliggöra kundens värdeskapande medverkan i festivalsammanhang   Metod: I denna uppsats har vi valt att göra en kvalitativ studie som är av en abduktiv karaktär. Studien avser musikfestivalbranschen som är en del av musikindustrin. Den empiriska studien bygger på åtta intervjuer med personer som har eller haft en stark anknytning till den svenska festivalbranschen varav sex stycken genomfördes ansikte mot ansikte, en via telefon och slutligen en via mail.   Slutsatser: Servicelandskapets miljömässiga utformning påverkar den enskilde besökaren via dess sinnen, vilket arrangörer har möjlighet att utnyttja till kundens fördel. Andra aktörer som vakter, volontärer, artister samt andra besökare påverkar kundens upplevelse genom interaktioner i festivalområdet. Festivalarrangören bidrar med arenan för upplevelsen samt verktyg för kundens värdeskapande. Kunden förverkligar individuellt värde av upplevelsen då den är närvarande och interagerar med inslag i servicelandskapet. / In this study the purpose has been to examine how organizers of music festivals can support the customer's perceived value through the design of the servicescape. Further, the purpose of this paper is as follows: To clarify the importance of the servicescape for the customer's festival experience. To clarify the customer's value-participation in the festival context. This study covers the festival industry which is a part of the music business, where we have chosen to do a qualitative study that is of an abductive nature. The empirical study is based on eight interviews with people who are or has been involved in the Swedish music festival industry, six of whom were made face to face, one by phone and one by e-mail. The conclusions from this study are that the servicescape’s environmental design affects the individual visitor through its senses, which organizers are able to use for the customers advantage. Other stakeholders as guards, volunteers, artist and other visitors affect the customer experience through interactions in the festival area. Finally, the festival organizers provide the platform where the experience takes place and tools for customer value creation. The customer creates individual value of the experience when it is present and interacts with elements in the servicescape.

Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003. / A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.

No description available.

145f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:20:26Z No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T19:03:38Z (GMT) No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) / Made available in DSpace on 2013-05-08T19:03:38Z (GMT). No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) Previous issue date: 2008 / Os festivais de música têm dado visibilidade às cidades e movimentado a economia local, através da geração de emprego e renda. Eles atraem investidores, empresas, visitantes e profissionais qualificados. Funcionam também como alternativas para a distribuição da música e servem de vitrine para novos talentos musicais. Muitas cidades tornam-se conhecidas e são incluídas no roteiro de férias de muitos turistas por conta dos festivais que realizam, alguns deles mundialmente famosos. Esta dissertação examina o significado desses festivais para o turismo, geração de emprego e renda, produção de música independente e marketing da cidade, através do estudo de caso do Festival de Verão Salvador. A partir da revisão da literatura especializada, de entrevistas qualificadas e de uma pesquisa amostral aleatória e estratificada realizada in loco, aplicou-se a metodologia padrão de estudos de impacto econômico de eventos. / Salvador