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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 purpose of this article is to illuminate the relations of work-related practices of local managers of live music events in Ostwestfalen-Lippe (OWL) and barriers and needs of vulnerable customers (VC) in order to explore possibilities to increase cultural participation of VC.

This article explores work-related practices of managers of live music events in OWL and asks if and to what extent these practices have an influence on the cultural participation of “vulnerable customers” (VC). It combines the findings of two studies: a) an explorative investigation on the work-related self-conceptions of managers of live music events in OWL (Study 1), and b) a sub-project on cultural participation of VC, which is part of the research project “kulturPreis. Increasing cultural participation through innovative and economically sustainable pricing concepts”, funded by the German Federal Ministry of Education and Research (Study 2).

It can be stated that there is an imbalance of knowledge: while VC tend to have a clear understanding of which barriers are the responsibility of managers of live music events, managers tend to lack knowledge regarding the needs of VC, and regarding the interrelationships between financial and social barriers facing them. Whether this knowledge and understanding can be developed in the future depends on the possibilities of exchanges between managers of live music events, cultural institutions, welfare organisations, political institutions and not least VC.

Based on these studies, this article combines different approaches by linking work-related practices of managers of live music events with cultural participation of VC.

The purpose of this paper is to assess the touristic potential of music festivals in Catalonia. It is an opportune goal because even though this region is experiencing an important increase of new festivals and cultural events, there is a lack of adequate coordinating and guiding tourism policies.

The data was gathered with a survey to managers of music festivals that provided information about their management structure and economic results. The study findings are the result of an analysis done with a statistical multivariate technique and constructing indicators of event economic feasibility and tourism specialisation.

Data reveals the coexistence of two different types of festivals in Catalonia depending on their cultural or touristic orientation and with clear differences in their management style. Both types have a professionalized management structure and an economic self‐sufficiency when compared with the rest of Catalan cultural events, so they can be considered as an asset for regional tourism development. Nevertheless, some problems are detected in management practices that should be improved when implementing a specific tourism event policy.

The research has built a unique event data base that can be useful for decision making in tourism public administration. The paper suggests that local and regional administration should consider music festivals and cultural events, in general, as excellent resources to create new tourism products. Some of the characteristics of festivals, such as their important potential as tourism attractions and their cultural identity or the economical success, are critical assets to their high potential in local tourism development. These findings should justify a more resolute public policy of events and music festivals in Catalonia.

The purpose of this paper is to propose and introduce a new classification model to segment a nation’s cultural tourists based on their motivations to travel to a military music festival. Little research is apparent about the types of people, and their motivations, who attend these types of festivals. In addition, the research investigates the impact of military music festivals on the concepts of patriotism and national identity.

The research approach involves empirical testing of a Canadian audience attending the Royal Nova Scotia International Tattoo, a longstanding annual musical event held in Nova Scotia, Canada, that pays tribute to the country’s military heritage. A proposed classification model that includes two dimensions is applied, which investigates: motivation to attend the event and kinship to Canada’s military and naval traditions.

Findings provide a better understanding of the diversity of the Canadian cultural tourist audience attending a military music display in terms of tourists’ demographics, experience of the show and the desire to return. This research also provides new insights as to the ability of a military musical event to arouse emotions of national pride, patriotism and strengthen national identity.

This research is important to event sponsors and organizers of military music events as they attempt to maintain productivity and attendance growth in an increasingly competitive entertainment environment.

The aim of this paper is to test a new proposal of a model to analyze emotional outcomes in relation to the key factors constituting the experience of a music festival.

This article first examines how emotions and intangible impacts are conceptualized and analyzed by different disciplines; secondly, this article exposes the relevance of musical emotions and the contextual elements in the generation of the music festival experience; the article then proposes a new model to assess the emotional impacts of music festivals, named the Emotional Impact of Music Festivals (EIMF). Finally, this article shows the test of the model through quantitative and qualitative analysis.

The findings reveal that perceived emotions in the music festival context should be based on the definition of musical emotions. At the same time, the model combines the different sources of emotions taken from validated tools in multiple academic disciplines. The new proposal enables the emotional outcome of the music festival experience to be identified and helps to understand the weight of the experience's main elements.

The new proposed model facilitates the research on music festivals and illuminates the key role of music when organizing festivals to enhance attendee experience. Finally, this model reveals the main elements required to obtain an intense emotional outcome in these types of events.

The study expands the different scales and model proposals in live events and combines existent musical emotion models from the psychological perspective with theoretical models from the intangible impact evaluation. This study shows a genuine test for a theoretical model that can be further developed. Finally, this study shows how the new tool EIMF can help music festival organizers to understand the weight of the constituting factors of festival experience and the results in applied studies.

This study aims to examines how renaming music festivals with brand names affect festivalgoers' purchase intention in a Southwestern European country.

This study uses 291 festivalgoers' responses attending five music festivals in a Southwestern European country with structural equation modeling.

The study shows that the brand experience at the music festival directly influences brand attitude, which in turn positively influences purchase intention. The results also show the direct impact of event-sponsor fit on brand image transfer (BIT), positively affecting purchase intention.

The study examined only five music festivals in a Southwestern European country. Further studies can investigate multiple music festivals in different geographic regions. Four of the five sponsoring brands of the music festivals are telecommunication operators. Also, this study did not explore the differences in the effect of destination image, artist image and festivalgoers' attachment to music festivals.

The brand sponsorship of music festivals should ensure the event-sponsor fit to impact BIT and purchase intention positively. A synergy between events and sponsors must be created to involve consumers with the brands.

This study uses congruity theory in a music festival setting. The investigation is unique as it is conducted at five music festivals in a Southwestern European country.

Music festivals offer new opportunities for leisure and tourist experiences in Portugal. Some tourists and residents, the so-called festival goers, participate and come back to these events, whereas others, the non-goers, never participate and are not willing to do so. The aim of this research is to understand the decision to participate or not based on facilitators and constraints to participate or not in a music festival, dismantling residents and tourists' attitudes.

Data were collected from 1,178 music festival goers and non-goers in Portugal. Content analysis was undertaken to depict the most important determinants of their decisions. Those determinants were categorized according to the three dimensions of factors of ecological systems theory, considering festival goers and non-goers as well as tourists and residents.

The results suggested that although constraints are not as often voiced as facilitators, both influence decisions that are expressed as delaying, postponing, avoiding or complying with others by participating in these events. Furthermore, the results suggested that the decision to participate or not depends on the social contexts of the festival goers or non-goers, and that these social contexts may invert their decision, be it by facilitating or constraining their participation.

This research is limited to festivals in Portugal and used a qualitative analysis that may be confirmed in other countries with quantitative methods. Nevertheless, this research opens paths to discuss facilitators and constraints through ecological system theory and gives insights into this industry.

The results provide important insights for festival organizers to retain and build long-term relationships with festival goers. The results also provide insights into how to overcome the resistance which non-goers demonstrated.

This research offers an in-depth and insightful understanding of individuals' attitudes towards music festivals, allowing festival demand to be better understood. Furthermore, this research proves that attendance of music festivals is mostly a socially driven behaviour.

By eliciting facilitators and constraints of the decision to participate in music festivals, considering residents and tourists, festival goers and non-goers, this study provides a deeper understanding of the decision to participate, through a theoretical framework which is rarely applied in this field.

This investigation aims to critically assess accessibility for persons with disabilities (PWDs) at music festivals in the UK.

A systematic review of the literature was conducted, followed by a case study focused on analysing accessible facilities and services offered at Glastonbury, Creamfields, Latitudes and Bestival Festivals. These two research strategies made use of secondary data only.

Based on the analysis of the needs of PWDs when attending a music festival and the facilities and services currently offered at the four UK music festivals studied in this research, three themes emerged: (1) insufficient attention is given to venue and site design characteristics, (2) current access booking tools appear to be confusing and bureaucratic and (3) staff awareness is of great concern among PWDs because employees do not have sufficient knowledge about the different types of disabilities and their individual needs.

By identifying current barriers affecting the experience of PWDs while attending music festivals in the UK, this research guides festival managers to deliver a more accessible music festival experience by suggesting the implementation of new approaches in terms of services and physical spaces provided.

This paper provides festival managers and future researchers with an essential foundation for creating more inclusive music festivals since it mentions critical factors that are currently missing and that can ensure success when responding to PWDs' needs and desires. The information in this investigation can be taken as an initial point to develop a theoretical framework through primary research focused on accessible festival design.

The current article focuses on the experiences of live music event attendees with visual impairment (VI). It outlines the factors which impact on the accessibility of events and considers how accessibility might be improved for these individuals.

The article reports on findings from a mixed-methods project utilising a structured interview study (N = 20) and an online survey (N = 94). Interview data were analysed using Interpretative Phenomenological Analysis, providing in-depth insight into participants’ experiences before and during events. Quantitative survey data were analysed descriptively and statistically, and Thematic Analysis of open-ended responses was carried out.

Attendance at live events varied amongst participants, and so too did the factors impacting on their attendance. Challenges were identified in relation to several key areas: accessing information and tickets, experiences with staff, navigation and orientation, and the use and availability of disabled facilities and specialist services.

This article is the first to offer in-depth exploration of music event accessibility for individuals with VI. It builds on existing research which has considered the experiences of deaf and disabled attendees but has not yet offered adequate representation of individuals with VI. The article offers practical recommendations for venues and organisers seeking to ensure accessible events for all and contributes to the wider discourse surrounding inclusivity at music, arts and cultural events.

The music festival industry is challenged by intense competition and financial exigency. As a result, many festivals have either folded or are currently struggling. Therefore, the purpose of this paper is to show that motivator-hygiene-professional (MHP) strategic capabilities (SCs) are positively associated with quality music festival management thereby providing a playbook for potentially mitigating these challenges.

The mixed methods research design comprised a case study of a leading event management company as well as nation-wide in-depth interviews and questionnaire survey. The authors initially confirmed the nature of the challenges to the industry from the case study and the in-depth interviews. The authors then developed an MHP Model of 15 SCs that were identified from the literature and the qualitative research. The relationship of the MHP SCs model to quality music festival management was tested in the questionnaire survey.

The respondents suggested that all the SCs were related to quality music festival management. However, Professional SCs were considered comparatively less important than motivator and hygiene SCs. Across all three groups, interviewees highlighted the significance of artists, site and operational planning, financial and stakeholder management and ticket pricing. In addition, careful planning, delegation and quality focus, problem solving, resolve and flexibility, leadership and vision, communication and innovation were considered conducive to the quality management of music festival organisations.

The MHP SCs model and dimensions of quality management offer music festival event managers a detailed practical playbook for moderating challenges to music festival management. In essence the authors provide the specific drivers that festival managers should best focus their attention upon. Visionary leadership, artist differentiation, innovation, customer service and flexible management have priority.

The findings add to the festival management literature by demonstrating the importance of motivator, hygiene and additional professional SCs for moderating challenges to the music festival industry. To the best of authors’ knowledge, no previous studies have directly investigated specific SCs critical for quality event and festival management. In particular, the academic significance of this paper is that the authors have combined Herzberg’s motivator and hygiene factors with SCs, which are in essence success drivers, to create a novel holistic MHP SCs model for quality music festival management. Further explanatory insight is gained by the addition of a third factor of professional SCs.