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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.

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.

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.

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 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.

The 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.

By 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.

The 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.

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.

This research aims to demonstrate the possible link between the sociodemographic profile of visitors motivated by the visit to flamenco shows and the city of Córdoba (Spain), and the preferences and sensations regarding these experiences.

The methodology used (multilayer perceptron) is based on the development of an artificial neural network.

The results show that the variables age and educational level are determining factors in the profile of the visitor. Also, as the level of income increases, so does the interest in flamenco, a fact that can be useful to determine the target audience for this type of shows.

Flamenco is an art that originated in the Andalusian region that arouses the interest of the visitor due to its music, way of singing and dance. Flamenco is a popular art that excites and awakens the senses of those who attend this dance, song and guitar show. Its recognition as Intangible Heritage of Humanity by United Nations Educational, Scientific and Cultural Organization (UNESCO) since 2010, makes it a tourist product that motivates visitors to travel to the city of Córdoba (Spain), being also one of flamenco's places of origin. Córdoba has this art in its tourist offer so that the identity of the city has two aspects: patrimonial and immaterial, among the flamenco highlighted.

The purpose of this paper is to report exploratory research into UK music festival attendees awareness of, and attitude towards, brands that sponsor music festivals. Sponsorship is an important revenue stream for music festivals, and, conversely brands perceive music festivals to be an effective channel through which to reach young target audiences. Further, there have been concerns expressed about the impact of alcohol sponsorship on drinking and health, but very little research has been conducted in this area.

A questionnaire was used as the primary method of data collection in order to investigate brand recall, brand awareness, brand use, brand attitude and any concerns about the potentially negative impacts of sponsorship, and specifically alcohol sponsorship.

There is evidence to suggest that brand sponsorship of music festivals has an impact on brand recall, awareness and attitude to the brand, but little evidence of impact on brand use. On the other hand, there are variations between brands and festivals. The values associated with sponsoring brands are largely positive. Some respondents indicated concerns about the consequences of sponsorship, particularly in relation to alcohol sponsorship.

This exploratory study has started a long overdue investigation into music festival attendees views on sponsorship. There is considerable scope for a larger scale study to investigate the impact of sponsorship over a larger number of brands and festivals, and to learn more about the sponsorship arrangements that have the most impact.

The coronavirus disease 2019 (COVID-19) pandemic has once again brought to our attention one of the three main pillars of sustainability–the environment. It has also brought into sharp relief the fragility of the live music festival sector, whose success hinges fundamentally on the capacity for both travel and mass gatherings to occur. Considering this intersection of environmental sustainability and the live music festival sector, this paper–which reports on events occurring long before the global pandemic took hold–examines the ways in which eight Australian folk and world music festivals successfully engage in eco-friendly and pro-environmental practices and educational activities at their events. Findings from this research will assist industry practitioners in being able to engage in similar practices at their events, as well as further academic understandings of the relationship between the environment and the live music sector, and the role of environmental communication practices within this.

This study engaged an exploratory research design using interviews to gain an insight into the perceptions of eight live music festival promoters regarding their patrons' on-site eco-friendly behaviours and engagement with the eco-friendly initiatives at their events.

Social support within the on-site festival community (applied here through the notion of a sense of communitas), coupled with the provision of eco-friendly initiatives and effective environmental communication approaches, were key pivot drivers to support patrons' pro-environmental behaviours. Engagement with environmental authorities and experts during the festivals was found to validate their eco-friendly approaches.

This paper provides details of, as well as insights into, the success of the eco-friendly and pro-environmental education practices engaged at select world and folk music festivals in Australia. It broadens and builds upon existing understandings of environmental communication practices.

This study aims to explore how emotionally rich collective experiences create lasting, shareable memories, which influence future behaviours. In particular, the role of others and of music in creating value through memories is considered using the concept of socially extended emotions.

Over 250 narratives were gathered from festival attendees in the UK and Finland. Respondents completed a writing task detailing their most vivid memories, what made them memorable, their feelings at the time and as they remembered them, and how they shared them. The narratives were then analysed thematically.

Collective emotion continues to be co-created long after the experience through memory-sharing. The music listened to is woven through this extension of the experience but is, surprisingly, not a critical part of it. The sociality of the experience is remembered most and was key to the memories shared afterwards. The added value of gathering memorable moments, and being able to share them with others, is clearly evidenced.

The study highlights the importance of designing events to create collective emotional moments that form lasting memories. This emphasizes the role of post-experience marketing and customer relationship building to enhance the value that is created customer-to-customer via memory sharing.

The research addresses the lack of literature exploring post-event experience journeys and the collective nature of these. It also deepens a theoretical understanding of the role of time and sociality in the co-creation and extension of emotions and their value in hospitality consumption. A model is proposed to guide future research.