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The purpose of this paper is the segmentation of the spectators attending a music festival in the city of Córdoba, Spain, according to their musical preferences.

In order to achieve this objective, the methodology used in the research consisted of the application of a group of multivariable techniques and in the realisation of a post hoc single-variate ANOVA analysis.

The principal conclusion resulting from this research is that there are different musical preferences with respect to the spectators at a music festival.

The main practical application of this research focusses on knowing the principal factors that determine musical preferences of the persons attending the festival.

The principal originality factor and innovation is analysing how the spectators of a music festival that has been held for many years attend with different motivations with respect to their musical preferences.

Researchers have become aware of the importance of festivals as a phenomenon worthy of studying, but in-depth studies of cultural festivals are lacking. The purpose of this study is to describe the attributes of cultural festivals, specifically theatre festivals and examine the motivations to organise them. Similarly, this study seeks to discover the type of tourist that attends these types of festivals.

A questionnaire was applied to a representative sample of tourists who visited one of the most prestigious festivals in the international panorama: Almagro International Festival of Classical Theatre. A non-probabilistic technical sample was used. Tabulation of the data was performed by the study group using the SPSS, v. 23.

This study makes a segmentation of the tourists who attend the festival based on their motivations. Using this segmentation, the authors analyse the socio-demographic characteristics and tourists’ behaviour, as well as their experience at the festival. Amongst the higher-rated attributes of the festival are care and service organisation and interpretative quality of the actors and/or theatre company.

The main practical application of this study is to help understand the peculiarities of each segment of visitors and their evaluation of the destination to create tourist and cultural products that provide greater satisfaction with respect to their needs.

The main value is the novelty of studying this kind of cultural event. The authors analyse the reasons to visit it in relation to the motivations that move the visitors. The authors also study the assessment the tourist does of the qualities of the festival.

Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia.

Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies.

Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings.

In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.

The case includes theoretical references to family business, organizational culture, resource-based value and leadership.

The case combines primary and secondary data. There is ample public information about Martin Guitar including histories of the company and its instruments. These were used for background. Primary data were provided by the company in the form of customized data and interviews.. The case writer has served Martin Guitar as a consultant and also plays Martin instruments. The case writer had numerous opportunities to interview Chris and his key lieutenants.

In 2019, C.F. Martin IV (Chris) was in his fourth decade leading one of the America’s oldest family-owned companies, C.F. Martin & Co., Inc. Martin Guitar is a globally known maker of fine guitars that are prized by collectors, working musicians and amateur musicians. Chris was raised in the family business and took on the CEO’s position at the age of 30. The case describes the company’s management practices and the culture that has emerged from them. In 2019, at age 64, Chris confronted issues faced by his predecessors over multiple generations: how to prepare the company for succession, and maintain its strong performance as a family-owned company in a dynamic industry environment.

The case is designed for a management course for upper-level undergraduates.

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the movement’s communicative legacy. We contend that, in addition to song’s lyrics and musical symbols, it is vital to consider a third dimension: visual performance.

The addition of the visual allows for a more fundamental understanding of the many complex meanings that the Tropicalistas constructed in their resistance to political oppression, as well as broader cultural mores and expectations.

Our examination of archival performance videos reveals that Tropicalistas employed modes of dress and a specific, intentional orientation toward their listeners as particularly powerful tools of expression. Revealing these two dimensions of Tropicália performance allows us to better understand the importance of performance as a key element of resistance. The Tropicália movement’s performative reconfigurations of self and other became a vital channel through which the Tropicalistas manage to speak truth to power to challenge the oppressive military regime and question assumptions about Brazilian national identity.

Exploring the role of performance as part of the overall meaning of musical expression opens up new vistas of understanding. While relevant to Tropicália as a pivotal and wholly Brazilian artistic movement, the contributions of this study have implications beyond this particular setting. The analytical approach reveals how artistic movements can serve as both the substance and the expression of national being.

Blues music is in the midst of its second revival in popularity in roughly thirty years. The year 1960 can be identified, with some qualification, as a reference point for the first rise in international awareness and appreciation of the blues. This first period of wide‐spread white interest in the blues continued until the early seventies, while the current revival began in the middle 1980s. During both periods a sizeable literature on the blues has appeared. This article provides a thumbnail sketch of the popularity of the blues, followed by a description of scholarly and critical literature devoted to the music. Documentary and instructional materials in audio and video formats are also discussed. Recommendations are made for library collections and a list of selected sources is included at the end of the article.

The key characteristics that eventually came to be considered to be Australian ‘heavy metal’ emerged between 1965 and 1973. These include distortion, power, intensity, extremity, loudness and aggression. This exploration of the origins of heavy metal in Australia focusses on the key acts which provided its domestic musical foundations, and investigates how the music was informed by its early, alcohol-fuelled early audiences, sites of performance, media and record shops. Melbourne-based rock guitar hero Lobby Loyde’s classical music influence and technological innovations were important catalysts in the ‘heaviness’ that would typify Australian proto-metal in the 1960s. By the early 1970s, loud and heavy rock was firmly established as a driving force of the emerging pub rock scene. Extreme volume heavy rock was taken to the masses was Billy Thorpe & The Aztecs in the early 1970s whose triumphant headline performance at the 1972 Sunbury Pop Festival then established them as the most popular band in the nation. These underpinnings were consolidated by three bands: Sydney’s primal heavy prog-rockers Buffalo (Australia’s counterpart to Britain’s Black Sabbath), Loyde’s defiant Coloured Balls and the highly influential AC/DC, who successfully crystallised heavy Australian rock in a global context. This chapter explores how the archaeological foundations for Australian metal are the product of domestic conditions and sensibilities enmeshed in overlapping global trends. In doing so, it also considers how Australian metal is entrenched in localised musical contexts which are subject to the circulation of international flows of music and ideas.

Since effective and successful branding increases the popularity and loyalty of the festival, and its economic success factors like positive media coverage and sponsors’ interest, it is essential that the festival brand image is credible and strong. The purpose of this paper is to focus on interpreting audience’s perceptions on a rock festival brand image to find out the factors that influence the brand image of the festival and how organisers could contribute to it.

Critical Incident Technique (CIT) was used in defining the factors influencing a rock festival brand.

The attending public co-produce the festival brand, and the brand image was created by the festival community where the importance of social and inclusive behaviour towards strangers was essential.

The data were collected as a voluntary response sample which led to a biased sample. Another limitation is that the informants were asked to describe only positive incidents.

The festival brand image cannot be produced solely by organisers; rather, volunteers, artists and especially audience members are crucial for the success and creditability of the brand. This should be considered in marketing and event management.

The use of CIT in the festival brand image evaluation introduces new possibilities in the field.