A History of the Music Festival at Chautauqua Institution from 1874 to 1957

Notes ◽  
1958 ◽  
Vol 16 (1) ◽  
pp. 58
Author(s):  
Irving Lowens ◽  
L. Jeanette Wells
Keyword(s):  
Music Festival ◽  
History Of ◽  
Chautauqua Institution

scholarly journals Motivasi dan Persepsi Penonton Hellprint United Day 2018 di Bandung

2019 ◽  
Vol 4 (1) ◽  
pp. 32-48
Author(s):  
Yayat Ahmad Hidayat
Keyword(s):  
Economic Potential ◽  
Case Study Method ◽  
Stage Design ◽  
Music Festival ◽  
Main Motivation ◽  
Metal Music ◽  
Business Perspective ◽  
History Of ◽  
The Many

Abstrak Hellprint United Day adalah event festival musik metal tahunan yang rutin diselenggarakan oleh Hellprint Official dan Supermusic.id di Bandung. Munculnya ide untuk menyelenggarakan event ini dikarenakan banyaknya penggemar musik metal di Kota Bandung, termasuk adanya komunitas metal underground. Menurut data dari Hellprint Official bahwa pada penyelenggaraan Hellprint 2013 penyelenggara mampu menjual tiket terhadap 38.000 penonton dan itu merupakan penonton terbanyak sepanjang sejarah penyelenggaraan Hellprint. Jika ditinjau dari perspektif bisnis, jumlah tersebut mengindikasikan adanya potensi ekonomi pada industri musik metal di Bandung di bidang pertunjukan. Akan tetapi menurut Hellprint Official pula bahwa pada beberapa penyelenggaraan berikutnya terjadi penurunan jumlah penonton yang faktor penyebabnya belum diketahui secara pasti. Untuk menangani masalah ini pada penyelenggaraan Hellprint United Day VI tahun 2018, penyelenggara melakukan beberapa inovasi pada beberapa faktor, di antaranya desain panggung, venue pertunjukan, fasilitas penonton, dan line up artis. Inovasi dilakukan untuk menjaga motivasi dan persepsi positif penonton demi keberlangsungan event. Peneliti telah melakukan penelitian kualitatif terhadap penonton Hellprint United Day VI 2018 melalui metode studi kasus. Artikel ini ditulis untuk menjelaskan motivasi dan persepsi penonton sehingga menjadi masukan bagi penyelenggaraan berikutnya. Hasil penelitian menunjukkan bahwa silaturahmi adalah motivasi utama penonton. Sedangkan desain dan artistik panggung adalah hal yang dipersepsikan positif oleh mayoritas penonton. Abstract Hellprint United Day is an annual metal music festival event that is regularly held by the Official Hellprint and Supermusic.id in Bandung. The idea of holding this event was due to the many metal music fans in Bandung, including the underground metal community. According to data from the Hellprint Official that the holding of Hellprint 2013 organizers were able to sell tickets to 38,000 spectators and that was the largest audience in the history of Hellprint. If viewed from a business perspective, this number indicates the economic potential of the metal music industry in Bandung in the field of performances. However, according to the Hellprint Official, there are also a decrease in the number of spectators whose exact causes are unknown. To deal with this problem in the holding of Hellprint United Day VI in 2018 the organizers made several innovations on several factors, including stage design, venue performances, audience facilities, and artist line ups. Innovation is done to maintain motivation and audience positive perceptions for the continuity of the event. The researcher has conducted qualitative research on the Hellprint United Day VI 2018 audiences through a case study method. This article was written to explain the motivation and perceptions of the audience so that it became an input for the next implementation. The results of the study show that friendship is the main motivation of the audience. While the design and artistic stage are things that are positively perceived by the majority of the audiences.

scholarly journals Out-of-Class Project: American Teachers' Summertime Activities, 1880s–1930s

2016 ◽  
Vol 56 (1) ◽  
pp. 8-35
Author(s):  
Christine A. Ogren
Keyword(s):  
New York ◽  
Middle Class ◽  
New York State ◽  
The United States ◽  
York State ◽  
Class Project ◽  
The Social ◽  
History Of ◽  
Chautauqua Institution ◽  
Previous Summer

In March 1887, Eva Moll wrote about the previous summer in her diary: “The season was fall of rich things of course. Heard some fine violin and harp playing by two Italians. I never expect to hear ‘Nearer my God to Thee’ sweeter on this earth, than it was played by the violinist. We first went to Niagara, visiting all the points.” Moll was not a wealthy person of leisure. She was a single Kansas schoolteacher in her late twenties who struggled to make ends meet, and yet had spent nine weeks at the quintessentially middle-class Chautauqua Institution in western New York State. A slice of my larger investigation of the history of teachers' “summers off,” this essay will explore the social-class dimensions of their summertime activities during a distinctive period for both the middle class and the teaching force in the United States, the decades of the 1880s through the 1930s.

‘I thought it was a very punk rock thing to say’: NOFX’s (sort-of) public apology and (in)civility in defining contemporary punk rock in online spaces

2020 ◽  
Vol 9 (1) ◽  
pp. 7-22 ◽  
Author(s):  
Ellen M. Bernhard
Keyword(s):  
The United States ◽  
Status Quo ◽  
Punk Rock ◽  
Music Festival ◽  
United States Today ◽  
The World ◽  
The Status ◽  
Online Spaces ◽  
Mass Shooting ◽  
History Of

As a music genre built on the foundations of questioning the status quo, punk rock has a long history of generating controversy. While many of punk rock’s offensive moments have been accepted and applauded by fans around the world, NOFX’s comments at the 2018 Punk Rock Bowling and Music Festival about the 2017 Las Vegas mass shooting were met with immediate consequences for the band, who lost several sponsorships and the ability to play their own Camp Punk in Drublic music festival one week following the incident. After footage of the band’s comments circulated, they were met with a mixed, yet heated, response from fans, with much of the conversation arguing whether or not what was said could be considered ‘punk’. Some argued these comments further solidified the band’s reputation as a punk band and are therefore imbued with an inherent right to offend, while others believed these comments were unethical, poorly timed, and pushed the boundaries of appropriateness. Through the analysis of 381 comments in response to the band’s 31 May 2018 post on their official Facebook page, this article investigates the uncivil and civil discussions of the incident and the subsequent aftermath, while also addressing the broader conversation surrounding the current ethos of punk rock within the scene in the United States today.

scholarly journals The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”

ICONI ◽  
2019 ◽  
pp. 159-171
Author(s):  
Anton А. Rovner ◽  
Keyword(s):  
20Th Century ◽  
Arnold Schoenberg ◽  
Early 20Th Century ◽  
Music Festival ◽  
Early 21St Century ◽  
Avant Garde ◽  
The World ◽  
History Of ◽  
Italian Music ◽  
The 19Th Century

The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

Rock versus pop: symbolic disputes at Rock in Rio music festival

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Isabella Oliveira Medeiros ◽  
Simone Evangelista ◽  
Simone Pereira de Sá
Keyword(s):  
Design Methodology ◽  
Social Constructions ◽  
Pop Music ◽  
Content Type ◽  
Digital Platforms ◽  
Music Festival ◽  
The Social ◽  
The Usa ◽  
History Of ◽  
Musical Genres

PurposeThe paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.Design/methodology/approachThe authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.FindingsBy recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.Originality/valueThe paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.

scholarly journals The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies

2017 ◽  
Vol 14 (1) ◽  
pp. 22-36
Author(s):  
Małgorzata Gąsiorowska
Keyword(s):  
Contemporary Music ◽  
Early Years ◽  
Soviet Bloc ◽  
Main Theme ◽  
Music Festival ◽  
Human Voice ◽  
History Of ◽  
New Phenomena ◽  
Soviet Music ◽  
International Status

Abstract The present paper surveys the history of the Warsaw Autumn festival focusing on changes in the Festival programming. I discuss the circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between programming policies and the current political situation, which in the early years of the Festival forced organisers to maintain balance between Western and Soviet music as well as the music from the so-called “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on the presentation of 20th-century classics was gradually replaced by an attempt to reflect different tendencies and new phenomena, also those combining music with other arts. Despite changes and adjustments in the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue emphasis on any particular trend – has consistently been pursued. The idea of introducing leitmotifs, different for each Festival edition (such as: music involving human voice, mainly electronic, etc.) – is not inconsistent with this general aim since the selected works represent different aesthetics, and the “main theme” is not the only topic of any given edition of the Warsaw Autumn.

Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990

2020 ◽  
Vol 14 (1) ◽  
pp. 33-50
Author(s):  
COLLEEN RENIHAN
Keyword(s):  
Musical Theater ◽  
New Music ◽  
Archival Research ◽  
Music Theater ◽  
Music Festival ◽  
The Arts ◽  
The World ◽  
History Of ◽  
Exclusive Focus

AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renowned for its (nearly exclusive) focus on musical theater. At Banff, discussions about generic innovation occurred regularly, producing what I suggest was one of the foremost centers in the world for innovation in music theater. Charting the development of opera in Canada through conversations that took part at the Banff and Stratford festivals during the period 1970–1990 reveals the unique possibilities that the peripheral positioning of these festivals—aesthetically, critically, and geographically—offered to the development, dissemination, and innovation of so-called new music theater in Canada.

FEATURES OF AN UNDERGROUND FEST PROMOTION IN THE NEW MEDIA (ON THE EXAMPLE OF BOL FESTIVAL, RUSSIA)

Communicology ◽  
2020 ◽  
Vol 8 (3) ◽  
pp. 163-177
Author(s):  
SVIATOSLAV KOROBITSIN ◽  
Keyword(s):  
New Media ◽  
Practical Experience ◽  
Music Festival ◽  
Advantages And Disadvantages ◽  
History Of ◽  
Coronavirus Infection

The aim of the research is new media and their role in events promotion, which has acquired particular relevance in connection with the measures taken in connection with the pandemic and isolation. The study is based on practical experience of the promotion of one of Russia top summer festivals in the new media in Spring 2020 - BOL Festival1,2 - and the related advantages and disadvantages of this mode of promotion. The article examines the history of BOL Festival, its mission and idea, justified by the use of promotion tools in new media. The scientific novelty of the work is to consider the promotion of the music festival in the conditions of the spread of coronavirus infection.

Pilgrimage, Landscape, and Identity

2021 ◽  
Author(s):  
Marion Grau
Keyword(s):  
Great Influence ◽  
Colonial History ◽  
Government Officials ◽  
Music Festival ◽  
Religious Issues ◽  
History Of ◽  
Life Journey ◽  
Constructive Engagement ◽  
Climate Crisis ◽  
The Church

The book explores the ritual geography of a pilgrimage system woven around local medieval saints in Norway and the renaissance of pilgrimage in contemporary majority-Protestant Norway, facing challenges of migration, xenophobia, and climate crisis. The study is concerned with historical narratives and communal contemporary reinterpretations of the figure of St. Olav, the first Christian king who was a major impulse toward conversion to Christianity and the unification of regions of Norway in a nation unified by a Christian law and faith. This initially medieval pilgrimage network, which originated after the death of Olav Haraldsson and his proclamation as saint in 1030, became repressed after the Reformation, which had a great influence on Scandinavia and shaped Norwegian Christianity overwhelmingly. Since the late 1990s, the Church of Norway participated in a renaissance that has grown into a remarkable infrastructure supported by national and local authorities. The contemporary pilgrimage by land and by sea to Nidaros Cathedral in Trondheim is one site where this negotiation is paramount. The study maps how pilgrims, hosts, church officials, and government officials are renegotiating and reshaping narratives of landscape, sacrality, pilgrimage as a symbol of life journey, nation, identity, Christianity, and Protestant reflections on the durability of medieval Catholic saints. The redevelopment of this instance of pilgrimage in a majority-Protestant context negotiates various societal concerns, all of which are addressed by various groups of pilgrims or other actors in the network. One part of the network is the annual festival Olavsfest, a culture and music festival that actively and critically engages the contested heritage of St. Olav and the Church of Norway through theater, music, lectures, and discussions, and features theological and interreligious conversations. This festival is a platform for creative and critical engagement with the contested, violent heritage of St. Olav, the colonial history of Norway in relation to the Sami indigenous population, and many other contemporary social and religious issues. The study highlights facets of critical, constructive engagement of these majority-Protestant actors engaging legacy through forms of theological and ritual creativity rather than mere repetition.

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