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This document is a review of two books: "Live Music in America: A History from Jenny Lind to Beyoncé" and "Vaughan Williams and His World." The reviewer praises "Live Music in America" for its comprehensive exploration of the innovations and contributions made by various individuals and businesses to the development of the modern music industry. The reviewer also highlights the book's focus on Beyoncé's groundbreaking performance at Coachella in 2018, which incorporated techniques from historically Black colleges and universities. The reviewer recommends the book for anyone interested in the history of live music in the US. Regarding "Vaughan Williams and His World," the reviewer notes that it provides extensive contextual information about the composer's life and career, but criticizes its biased emphasis on his leftist political convictions. Despite this, the reviewer acknowledges the value of the book as a contribution to Vaughan Williams literature. The text also discusses a book titled "Ralph Vaughan Williams and Adrian Boult" by Nigel Simeone, which explores the relationship between the composer and conductor Adrian Boult, providing a detailed portrait of their collaboration and work together. [Extracted from the article]

The article discusses the Radar Festival held in New York City, featuring self-aware experimental performances engaging in critical inquiry, transparency in production, and participatory dialogue, reaffirming its support for experimental performance-makers.

It should come as no surprise that a music and arts festival dogged by scandal would lead to two separate documentaries that each raise ethical concerns. The 2017 demise of the Fyre Festival, a would-be luxury music event in the Bahamas targeted at millennials, inspired late-night comedians' jokes, social media schadenfreude and so far, two documentaries detailing how things went so wrong. Both films detail the maddening twists and turns during the preparations for the Fyre Festival and make it clear to viewers that it was doomed from the start. Both films also contain potential conflicts of interest that are notable, and notably absent from discussion or clarification in either film. [ABSTRACT FROM AUTHOR]

Background: Illicit substance use is common at music festivals. One could question whether festival attendees deliberately plan to take drugs at such events or whether their illicit (poly)drug use is provoked by specific circumstances, such as the presence of peers or a general belief that others are using drugs at the festival. Objectives: The present study implemented the prototype willingness model, which is a model that assesses whether illicit drug use at music festivals is rather a rational or a more spontaneous decision-making process. Results: A three-wave panel survey was conducted, questioning festival attendees before (n = 304, 60.86% males), during, and after music festival visits. In total, 186 people (59.68% males) between 18 and 55 years (M = 27.80 years; SD = 8.19) completed all three surveys, of which 62.9% had taken one or more different illicit substances at the festival. Positive attitudes toward illicit drug consumption were most firmly related to attendees' intentions to take drugs at festivals. Additionally, the more festival visitors identified themselves with the prototype of an attendee using drugs, the more likely they were to be willing to use them. The perceived presence of illicit substances at such events was also strongly related to the actual behavior. Conclusion: The findings suggest that illicit drug use at music festivals relates to both a rational choice and an unplanned one. [ABSTRACT FROM AUTHOR]

Taiwan's music festival landscape has blossomed, attracting global music enthusiasts with its cultural richness and diverse offerings. Using structural equation modeling (SEM), a survey of festival-goers revealed the intricate relationships among factors like skill performance, self-congruence, ambiance, and consumer interaction, shaping authenticity, satisfaction, destination loyalty, and behavioral intentions. Interestingly, memory was identified as a moderating role, which interlinking satisfaction, behavioral intentions, and destination loyalty. These findings provide both theoretical insights and practical strategies for enhancing festival experiences and cultivating destination loyalty within Taiwan's thriving music scene. [ABSTRACT FROM AUTHOR]

The article offers information on several upcoming music events and professional development opportunities in 2024. Topics include the UMKC Choral Conducting Symposium focusing on enhancing skills in conducting and rehearsing, the Youth Choir Festival Northwest for children's and youth choirs, and the Atlanta Music Project Summer Series offering a four-week music festival and school.

An introduction is presented in which the editor discusses the articles in the issue on topics including the examination of subcultural identities in music scenes, the interrogation of narratives in hip hop, and the exploration of marginalized voices and representation in popular music studies.

Background: Harms associated with the use of alcohol and other drugs (AOD) in licensed entertainment settings (LES) and outdoor music festivals (OMF) are ongoing public health and criminal justice concerns. This systematic review provides a comprehensive, synthesized report on the evidence base of interventions that impact harm in these settings, and how they affect health, behavioral, and criminal justice outcomes. Methods: Nine databases were searched for experimental and observational studies published between 2010 and 2021. Studies were included if they were peer-reviewed, published in English, described interventions which could impact AOD-related harms in LES or OMF (and were delivered in these environments), and reported on health, criminal justice and/or behavioral outcomes. Methodological quality was assessed using the Effective Public Health Practice Project's Quality Assessment Tool for Quantitative Studies and the Critical Appraisal Skills Program for qualitative studies. A narrative synthesis was conducted to synthesize outcomes across studies. The review protocol was registered in PROSPERO (CRD42020140004). Results: Of the 48,303 studies screened, 100 met the inclusion criteria. 86 focused solely on reducing alcohol-related harm, 7 on reducing illicit drug-related harm, and 7 on both. Most (n = 88) focused on LES and evaluated changes in laws and regulations (n = 28) and/or multicomponent interventions/policies (n = 41). Multicomponent interventions showed the best results for both health (62% positive) and criminal justice (84% positive) outcomes, with 71% of studies being rated as strong quality. There was also good evidence to support the careful application of trading hour restrictions and limited but promising evidence to support medical services and drug checking. Conclusion: The breadth, quality and volume of evidence regarding what works in reducing AOD-related harm in recreational settings have increased in the past decade, particularly regarding LES. Findings support onsite medical services (reducing ambulance transfer rates), multicomponent interventions targeting alcohol accessibility and availability (reducing assaults), and drug checking services, but suggest other interventions such as drug detection dogs may exacerbate harm. Further, higher quality research is required to address identified gaps in the evidence base, particularly on optimal interventions within OMF, around illicit drugs more broadly and in the Global South. [ABSTRACT FROM AUTHOR]

Research taking into account the everyday nature of tourism destinations and its impact upon authenticity and attendees' resulting extraordinary experiences is limited. Drawing upon a 3-year ethnography (including fieldnotes, photos/videos, artifact material) and interviews with festival attendees, we explore the interrelationships between authenticity and extraordinary experiences in the context of Primavera Sound music festival. Our emergent thematic categories—the festival's indie music character, its urban and quotidian configuration, and the instrumental orientation of the festival experience—suggest the festival is firmly positioned within the structures of the indie music industry, while also being located within the confines of day-to-day urban life. Attendees seek to achieve a sense of spatial authenticity by engaging with the features of tourism destinations. We contribute to discussions about authenticity and extraordinary experiences by unpacking the everyday nature of tourism destinations, demonstrating that not all music festivals need to be "extraordinary" muddy camping events. [ABSTRACT FROM AUTHOR]

In the British region of Cornwall, state intervention in long-standing practices of the translation of music lyrics for song competitions has created major shifts, including remarkable competitive successes. Proponents of the Kernewek (Cornish) Language have long used translated musical lyrics as a tool for language revival, especially in annual song competitions, like the Pan Celtic festival. Cornish musicians – who, with few exceptions, cannot speak Kernewek – work with volunteer translators to produce songs for competitions for audiences who also rarely speak Kernewek. This essay is built upon ethnographic fieldwork in Cornwall among language enthusiasts and musicians, as well as on recent interviews with musicians and translators who have competed in the Pan Celtic and similar festivals. It demonstrates a conscious use of language by non-fluent speakers to build identity and community among Cornish people and to promote the recognition of Cornwall's distinctiveness outside of the region. This builds upon previous work on metalinguistic community (Avineri and Harasta 2021) and ethnolinguistic infusion (Benor, Krasner, and Avni 2020), demonstrating the complex and important impact of state funding and coordination to increase the recognition and scope of use of the language. [ABSTRACT FROM AUTHOR]

This article examines the genesis and development of the Festival of Political Songs (Festival des Politischen Liedes) in East Berlin under the German Democratic Republic from 1970 to 1990, looking at it as one of the main engines of the German Democratic Republic-musical field in the last twenty years of its existence. In this regard, the analysis of the empirical material (in-depth interviews and video recordings) serves first to outline the main social and cultural processes which interested the Festival from its inception to its end, and second to reflect upon some specific features of the Festival as an 'extraordinary event' in light of Bourdieu's concept of field. Departing from this perspective, I examine the genesis and development of the Festival, focusing especially on the contrasting effects produced by its institutionalization and internationalization and the ways these impacted both the Festival and the musical field: from the creation of music scenes, to the development of professional careers in different fields of cultural production and the mixing of mainstream and alternative musical trends. The final aim is to highlight the different understandings of publicness and openness associated with the Festival that defined its social, spatial and emotional structure during its twenty-year lifespan. [ABSTRACT FROM AUTHOR]

Despite increasing scholarly and media attention on sexual violence in public spaces, including those associated with the night-time economy and licensed venues, music festivals have been largely absent from research and policy. This paper presents the findings from the first UK study of sexual violence at music festivals, drawing on data from interviews with 13 women who have experienced some form of sexual harassment or assault at a festival. Analysis reveals that sexual violence at festivals occurs on a continuum and represents an extension of rape culture through which sexual violence is culturally condoned and normalized, enabled through a number of environmental and culture features that are unique to festivals. [ABSTRACT FROM AUTHOR]

We examined transport behaviors and drink and drug driving beliefs among music festival attendees as festivals are a risk environment for drink and drug driving. Overall, 2305 participants from 23 Australian festivals self-completed a questionnaire, with logistic regression used to examine correlates of drink and drug driving beliefs. Most participants attending regional music festivals travelled by car (81% to and 77% from festival) and shared driving with friends; those attending metropolitan festivals used more transport options including public transport (35%–36% from festival) and ride share services (31%–38% from festival). Most participants endorsed consuming fewer than 5 drinks in the six hours before driving (88%) and avoiding illicit drug use 24 hours before driving (22%). Heavier alcohol consumption was associated with less-safe drink driving beliefs and older age was associated with less-safe drug driving beliefs. Sharing driving with friends was associated with safer drink and drug driving beliefs. Increased transport options are needed at regional music festivals. Drink and drug driving programs could tailor messaging for people with heavy alcohol consumption and young adults beyond early years of driving. Experiences of sharing the journey with friends should be considered in road safety initiatives at festivals. [ABSTRACT FROM AUTHOR]

The musical dimensions of the Moroccan Protectorate invite us to rethink certain tenets of colonial history, especially lingering nineteenth-century attitudes about 'indigenous' populations as 'savage'. By the mid-twentieth century, efforts to comprehend Moroccan music were far less motivated by domination and submission than other agendas, beginning with 'cultural protection' to justify French presence, the Protectorate's priority since arrival. Publications and promotion of Moroccan music reflected French desire for long-term impact on the region. This enterprise depended on Moroccan as well as European support, addressing local needs and creating alliances with both urban and rural elites with their own political agendas. Offering archival evidence of the French Protectorate's institutional involvement in renovating Andalusian music – never before examined, yet so important in post-colonial Moroccan identity – and, despite colonial occupation, Moroccan musicians' agency, this article focuses on the interactions between French administrator Prosper Ricard, Algerian-born musician/ethnographer Alexis Chottin, and Moroccan musicians equally concerned about their music's future. Many are here given voice for the first time. Drawing on these stakeholders' expertise and experiences, they co-created new musical knowledge despite power asymmetries, sustained the musical practices of urban and rural populations, and encouraged traditional, hybrid and modern identities. In their newly-created Conservatory of Moroccan Music, music festivals, and Radio-Maroc, relationships shaped through shared responsibility for outcomes emerge as significantly more complex than between 'superiors and subalterns', reaching parity at the Fez festival (1939). Their multifaceted work continues to influence knowledge and praxis today. To understand this requires a new paradigm for colonial scholarship. [ABSTRACT FROM AUTHOR]

Background: Perception of drug adulteration has increased in Mexico, but there is little research on adulterants and toxicity. The aim of this study was to identify drug composition in an electronic music outdoor festival nearby Mexico City. Methods: The participants completed a questionnaire with demographic data, harm reduction strategies, drug-use patterns, history, and the drug they expected to find. We took a small sample of each substance and prepared it for drug checking. A two-section drug testing station was placed within the grounds of the festival. Interaction with participants occurred at the front part. Drug checking was conducted at the rear part. The service was free of charge, voluntary and confidential. Forty persons aged 22 to 48 years participated (mode = 28), of which 92.5% were male, most (82.5%) were single. Through the Substance Analysis Program of "ReverdeSer Collective," we conducted the testing with the attendants that provided 51 drug samples, following ethical and biosafety protocols. We used colorimetry, Fourier Transform Infrared Spectroscopy, and fentanyl immunoassay strips for sample analysis. Results: Substances of choice among attendants were psychostimulants (MDMA and other amphetamine-like drugs) and hallucinogens. Most samples contained what the users expected plus adulterants. Main adulterants were methylene-dioxy-ethyl-amphetamine, methylene-dioxy-propyl-amphetamine, hydroxyamphetamine, and the selective serotonin reuptake inhibitor venlafaxine. Fentanyl was present in 2 out of 4 cocaine samples and in 14 of the 22 confirmed MDMA samples. Conclusions: Some of the adulterants found pose serious health risks, especially fentanyl, amphetamine-like substances, and venlafaxine. Therefore, it is urgent to monitor these adulterants at electronic music festivals and to implement prevention, treatment, and harm reduction public policies. Naloxone distribution and drug-assisted therapies should be part of government programs in Mexico. Article Highlights: We used FTIR for drug checking at a music festival close to Mexico City We also analyzed drug samples with fentanyl test strips and UV light 51 samples, mostly nominal MDMA and LSD, from 40 users were analyzed Most had the expected active substance plus adulterants, including venlafaxine We detected fentanyl in MDMA and cocaine samples. [ABSTRACT FROM AUTHOR]

The cultural workforce has previously been described as pre-dominantly white, male and middle-class. Internships are often seen as a solution as they would function as a 'democratising path to launch careers'. Nevertheless, previous research has also suggested that there is no smooth path from an internship to paid work for anyone, and even less so for some than for others. Moving beyond previous research, which often neglects the production perspective on music festival organisation altogether or exclusively focuses on individuals 'getting into' the cultural and creative industries (CCI), we also include those who are 'moving on'. We question the (non)diverse composition of the popular music festival sector in Rotterdam, focusing on why and how people are excluded from working in it. Semi-structured interviews were collected in two phases: 1) workers who did an internship and moved into the sector (n = 11) and 2) former interns who left the music festival sector after their internship (n = 13). Findings indicate the force of the somatic norm of maleness and how related experiential differences affect sectoral demographic inequality. Moreover, internships are not an 'easy fix' for a non-diverse workforce because of how work is, experienced, organised and rewarded. [ABSTRACT FROM AUTHOR]

This study investigates the development of the Festival of Nine Lessons and Carols, considers how in this context the Christmas story is told in word and music, and examines how this service contributes to the Church's mission of proclaiming the story of faith today. It focuses on the initial development of the service in Truro 1880, its subsequent adaptation at King's College, Cambridge, and how the tradition is reflected in and developed throughout the twentieth and twenty-first century, using examples from four Cathedrals in England: Coventry, Salisbury, Durham, and Truro. This paper shows how, with adaption and careful planning, this service can continue to be used as a missional tool to tell the story of faith in the twenty-first century. [ABSTRACT FROM AUTHOR]

Israel has participated in the Eurovision, the largest European music festival, since 1973. The Jewish state regularly invests substantial resources in the contest and goes to great lengths to shine; with four victories, as well as two second places, it has been highly successful. Given its symbolic significance, as well as its actual impact on Israeli cultural diplomacy and nation-branding efforts, the annual media event and the process of selecting an artistic representative frequently elicit values-laden debates. Against this backdrop, the article investigates the evolution of the ways in which Israelis have presented themselves on the Eurovision stage, as well as the country's internal discourse surrounding this annual cultural ritual. Israel's participation in the yearly spectacle, I argue, has become an important element of ongoing Zionist-Israeli nation-building. [ABSTRACT FROM AUTHOR]

This article discusses six recent recordings of Baroque music that embrace the art of transformation. The recordings include works by Antonio Vivaldi, Jean-Baptiste Lully, Pietro Locatelli, and Johann Sebastian Bach. Each recording offers a unique interpretation of the music, showcasing the musicians' creativity and skill. The article highlights the historical and stylistic research that informs these interpretations and emphasizes the immersive and transformative experience of listening to Baroque music. [Extracted from the article]

Festivals are often regarded as a way of making cities and urban public spaces more inclusive, particularly for migrant communities. This proposition is examined here by analysing a festival that celebrates the growing number of Latin Americans who live in London. The research assesses how the Latino Life in the Park festival contributes to social and cultural inclusion and focuses on how this festival affects the inclusiveness of the park in which it is staged. Large-scale, fenced music festivals tend to be regarded as installations that make London's parks less inclusive. However, this article highlights the value of staging a free, and fence free, festival in a park setting. This created a sociable, festive park in which marginalised communities were made visible. By examining how the festival was organised, the ways people behaved and who attended, the article outlines how music festivals affect the dynamics and inclusivity of public spaces. [ABSTRACT FROM AUTHOR]

Music festivals represent one of the most dynamic tourism sectors of the last decades, their impact extending beyond the initial music-based nucleus. Festivals are subjectively interiorized by visitors through their own experiences which, in time, can influence the overall levels of satisfaction and loyalty. This paper uses the computed analysis of online visitor reviews in order to offer valuable insights into the main components of visitors' subjective experiences. The overall results are in line with the classical models. However, new connections, dependencies, and even new components related to music festivals are emphasized through the analysis digital reviews of, such as 'appraisal' and 'anticipation', emerged. Furthermore, our results indicated that 'authenticity', a major concept in festival studies during the '90s, failed to emerge as significant thus supporting the idea of an ongoing trend focused on standardisation. The findings have both theoretical and direct managerial implications, underlining the core structure of visitor experiences, as well as providing a series of suggestions for festival organisers in order to enhance visitors' satisfaction. [ABSTRACT FROM AUTHOR]

The article explores the popularity and significance of the "JUPITER" ensemble, which consisted of arrangements of symphonies, concertos, and overtures composed in Vienna during the early 19th century. These arrangements allowed British audiences to access the works of Haydn, Mozart, Beethoven, and others. The text discusses the conventions and practices of arrangement during this time period, highlighting the unique status of the JUPITER arrangements in British musical culture. It also examines the use of obbligato and ad libitum in these arrangements, provides examples of different arrangements, and analyzes the challenges faced by arrangers. The article emphasizes the provincial context of these arrangements and their continued use well into the second half of the nineteenth century. It also explores the relationship between the original compositions and the arrangements, challenging traditional notions of the original and the arrangement. [Extracted from the article]

This article explores the differential coverage of drug overdose death in three major Australian newspapers between 2015 and 2020. It outlines the number of articles, the types of voices, and emotional collectives drawn on in three types of overdose death stories: those related to injecting drug use, pharmaceuticals (largely opioids), and those that occurred at music festivals. Our analysis finds that in each newspaper festival deaths are reported on more than other types of overdose stories, even though deaths in the other categories represent significantly larger loss of life. Beyond the number of articles written about each type of overdose, our analysis pays attention to emotional collectives, such as pity, surprise, and grief, and how these constitute the overdose victim. We argue that the differential media treatment of overdose deaths—depending on substance involved, social circumstance—is intimately (if implicitly) linked to a differential valuing of human life. We explore the way people who die of an overdose exist on a spectrum, from those who are visible and valued subjects in media coverage (the grievable), to those who are abject and already lost (the ungrievable). Finally, our analysis finds that proximity to White and middle-class culture structures the way the lives of overdose victims are (re)produced as lives worth grieving in media coverage. [ABSTRACT FROM AUTHOR]

In recent years, the issue of gender inequality in music festival lineups has become a major topic of discussion in the industry. In response, some festival organizers have implemented quotas or other regulative policies in an attempt to produce gender balanced lineups. However, by distinguishing between "hard" and "soft" gender balance, I argue that organizers often employ a "soft" definition which masks prevailing gender disparities and I propose that a "hard" approach which encompasses a more fine-grained analysis of the gender dynamics of festival programming should instead be adopted. Using the WOMAD Festival as a case study, I demonstrate the benefits of a "hard" approach for scrutinizing the gender composition of festival lineups and interrogating the claims of progress made by organizers. I also discuss WOMAD's strategies for fostering greater gender balance, which may offer other festival organizers some valuable starting points for addressing gender inequalities in their own lineups. [ABSTRACT FROM AUTHOR]

This article is a conversation with Serbian composer and performer Jug Marković about his vocal music. Marković's music is described as eclectic and polystylistic, with a strong emphasis on lyricism and exploration. The article discusses specific compositions, such as "Nula," which reflects on the breakup of Yugoslavia, and Marković's collaboration with the Neue Vocalsolisten ensemble. The article highlights the challenges and changes that occurred during performances of Marković's vocal compositions. Marković also discusses his affinity for extreme metal vocal techniques and his interest in incorporating them into his work. He talks about the possibility of non-classical musicians performing his pieces and mentions specific compositions that are suitable for non-classical musicians. Marković also talks about his recent works that involve the use of voice in unique ways, such as using recorded voices as electronic sounds. He reflects on his vocal journey and the importance of taking risks and following personal preferences in his compositions. [Extracted from the article]

The Tamburitza Extravaganza, a musical event in the United States organized by the Tamburitza Association of America (TAA), has presented tambura-based ensembles for over 50 years. At the event, American stylistic variants of Croatian and Serbian music are performed to exuberant diaspora audiences, and musicians are honored for sustaining tamburitza music. Drawing on the author’s experience as an Extravaganza performer, interviews with TAA members, published TAA documents, and published tamburitza sources, the Tamburitza Extravaganza is analyzed as a sui generis music festival using the musical ecosystem model. [ABSTRACT FROM AUTHOR]