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The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

The purpose of this paper is to provide an historical context of the growth of Celtic music on Cape Breton Island, Nova Scotia, Canada and to trace the development as a component of a cultural tourism product.

The paper examines literature on music and cultural tourism as well as government reports. Semi‐structured interviews were done with a cross‐section of people, key to the development of musical cultural tourism on Cape Breton Island.

The paper reports on the initial investments of the federal government of Canada in tourism infrastructure on Cape Breton Island in the 1970s and the initial investments in entertainment as a component of tourism in 1986. The paper examines the growth of Celtic music in Cape Breton and the birth of the success of the Cape Breton sound.

The practitioners of the music industry are quite clear in their views of the importance of their sector to the broader tourism industry. However, the study is quiet on the actual perceptions and views of the tourist. Further research should examine the importance of the cultural experience in contributing to the satisfaction of the visitors' experience.

The success of the Celtic Colors International Festival has clearly indicated the market for Cape Breton Celtic music and that festivals of this sort have the ability to extend the tourism season.

The paper chronicles the development of one of the most successful Atlantic Canadian cultural tourism products which has broad applications in comparable tourist destinations.

Bandung city had constructed new facilities in urban areas or supplemented existing facilities to create a city branding of music-design-culinary. This paper aims to assess their potential as new tourist areas for urban. This study very little research explicitly to discuss new phenomena tourism from urban areas that raise the image of three branding concepts at once.

Qualitative research more emphasized meaning and process analysis. Data analysis was carried out by looking at the status of an urban community, an object and a set of conditions in the thought system or current cases. The supporting data analysis technique used in this research is spatial analysis overlay is one of the basic ways to create spatial relationships between music, design and culinary by processing the result SWOT analysis factor.

Three forms of brand imaging development can ultimately lift new changes in strengthening relationships for building a good image of the tourism city with visitors.

For developing a new branding that can be implemented, the actors necessary to identify and assess internal and external factors policy for further formulation development of tourism city strategy. These articles very few research to explore discuss new phenomena in urban tourism that raise the image of three branding concepts at once. The present work was a modest effort to fill this gap literature with uses a compilation of research findings separately from city branding in various cities used as a conceptual basis and a comparative analysis is then conducted of three schemes.

This paper discusses how vinyl records become souvenirs of musical tourism. The record-as-souvenir dynamic is particularly relevant in the discussion about punk culture in cities like Washington, DC, and other scenes which defy encapsulation as touristic landscapes. Arguing a fluid perspective on musical tourism, the purpose of this paper is to present the argument that vinyl functions as de facto souvenirs of underground musical landscapes.

This paper incorporates literature on souvenirs within tourism studies, market research, and empirical data. It also builds upon research on emotional geographies and the resurgence of the vinyl record industry.

In many cases, musical recordings (particularly those on vinyl, for tactile and fetishist reasons), while not designed for the function of being souvenirs, come to signify counter-narrative definitions of place.

This work focuses on the context of vinyl as souvenirs with findings derived from the intersection of tourism, critical geography, and music marketing. In offering this contextual account, there is no claim toward generalization but rather the work is put forward as a depth of insight on a phenomenon long in the making yet neglected by researchers. However, a more comprehensive approach to provide further insight on vinyl as souvenirs might include consumer interviews.

This paper expands the conversation about souvenirs further into the era of modern, underground tourism. It argues for the inclusion of music consumption, especially vinyl, as prototypical and unintentional souvenirs as decided by the consumer rather than the producer. It also expands the discourse on counter-narratives of places like Washington, DC, in conversations about place-based music marketing and tourism.

This paper frames musical souvenirs in terms of the consumer deciding their value and role in the cultivation of sense of place, rather than the producer. Additionally, music retailers provide a valuable role in their city’s cultivated image, but even this is a collaboration between the retailers and consumers.

This paper addresses the function of vinyl records within the purview of tourism studies and positions as an original contribution connecting music consumption and tourism practices.

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.

This study aims to contribute to the discussion on the interplay between music and destination advertising by exploring the roles of music in destination promotional videos (DPVs).

Eight focus group discussions on DPVs about Budapest (Hungary) were assessed through thematic analysis. Individuals’ interactions with and perceptions of advertising can be explored in depth through the former, whereas the latter allowed to identify the roles of music in DPVs.

Results show that music plays a very important role in DPVs in which it acts as a conveyor. Viewers associate a DPV’s musical elements and genre with a destination’s character. Here, the use and remix of traditional music was felt to be controversial because of its ability to communicate cultural identity. The music caught the audience’s attention, elicited emotions in them and made them think about the destination in question. An original music track can make a video memorable.

A convenience sample was used with international and Hungarian university students for the focus groups.

Music is a powerful conveyor of the particular characteristics of a destination and if the structural elements of music, such as tempo, rhythm and dynamics, are chosen appropriately, tourism marketers can create compelling promotional videos. By recognising that different audiences are attracted by different genres of music, marketers can target specific tourist segments. Furthermore, tourism marketers are advised to ask locals’ opinions about which music best represents their city’s cultural identity.

Through an understanding of the important role of music in DPVs, this study provides a novel insight into assessing young people’s cognitive and affective responses to music in promotional videos.

The purpose of this paper is to investigate the nature of music‐based tourism in the context of the childhood locations of music icons from the 1950s and 1960s. The Beatles, Bob Dylan, Buddy Holly and Elvis Presley are selected and fieldwork is carried out in Hibbing, Liverpool, Lubbock, Memphis and Tupelo.

A normative approach is chosen using existing work on music‐based tourism as a backdrop. Key informant interviews are the main sources of primary data with a snowball technique used to gain access. Content and theme analysis is used.

Music‐based tourism is emotion driven with ideas of pilgrimage, nostalgia and heritage centring on sites of production of music; birth and death of individual artists; and places which shaped their early history. The demographic base of this market segment is widening to include both “baby‐boomers” and younger visitors for whom these music icons have become part of pop culture. It is important to recognise the sensitivities of these visitors and authenticity is a key factor.

This study is of interest to managers involved in promoting tourism and the marketing of place. It provides detail from major cities such as Liverpool to small towns such as Hibbing, Minnesota with a population of 18,000.

The purpose of this paper is to focus on territorial dynamics generated by five music festivals in the Emporda region (Spain) and its tourism sector.

Using qualitative methodology, 10 qualified informants were interviewed. Their answers were coded and analysed.

Territorial features favour the organisation of festivals. Promoters wish to offer some added value using local products. Festivals broadcast local identity to the world. Festivals’ features as tourist products explain how they are perceived as innovative.

These existing products are being further developed to meet cultural tourism requirements. This strategy is justified by the search for innovation in a fiercely global competitive context.

Current paper focuses on a present product and analyses its transformation: how a territory uses an old strategy in a new way generating future opportunities for tourism sector and local economies.

Through investigation and comparisons between tourists and restaurant managers regarding their understanding of traditional music and their attitudes, expectations and assigned importance to it, this paper aims to identify the most problematic aspects of the (non)inclusion of traditional music in restaurant settings in tourist destinations.

Data were collected through a field survey of tourists and managers/owners of catering establishments in the four municipalities of Slovenian Istria.

The results show that tourists attach a relatively high importance to this element of cultural heritage and that it is not sufficiently included in the overall product of the destination and in the catering establishments. Differences in the understanding of traditional music between the two groups were also found.

The research limitations are, namely, a relatively small sample of managers for the quantitative analysis, the particular nature of the chosen destination which does not allow generalization of the results and finally, the study was conducted in the high season when the structure of tourists is significantly different compared to that in the mid and low season.

The findings bring some useful insights into tourists’ expectations and understanding of traditional music as part of the tourism experience for catering establishments’ managers and destination management organizations. By addressing the identified gaps, they can enrich the overall tourism product of the destination, while catering operators can achieve better business results.

The more frequent and cogent inclusion of traditional music in the hospitality sector would provide a new social function and raison d'être for this segment of cultural heritage, which is in danger of being forgotten in many tourist destinations.

This research addresses a widely overlooked area of two interrelated fields of research, namely, hospitality and cultural heritage. Unlike the majority of previous research on this topic, which only involves actual guests, the present research is designed as a comprehensive investigation and comparison of the attitudes of the general population of actual tourists in the destination (as potential guests of the inns/restaurants) and managers of catering businesses operating in the destination.

The purpose of this paper is to determine whether a music festival leads to additional intangible benefits such as the appreciation of the specific music genre and music tourism. This was done by using visitors’ behavioural intentions related to these benefits as a tool for market segmentation.

The research followed a quantitative approach by conducting a visitor survey at an international jazz festival in South Africa.

The results showed that visitors’ post-festival behavioural intentions are a useful market segmentation tool. This approach revealed three distinct market segments with different levels of post-festival behavioural intentions (high, medium, and low). The results further showed that music festivals have the potential to create benefits beyond the festival itself or the host destination in the form of music tourism and the appreciation of a music genre. However, influencing visitors’ behavioural intentions can only be achieved by a thorough understanding of the characteristics of the market.

This research applied an innovative market segmentation approach that showed the post-festival behavioural intentions of different visitor segments at a music festival. The findings confirm that music festivals can have far-reaching benefits that can contribute to their legacy.