The outdoor music festival market has developed and commercialised significantly since the mid-1990s, and is now a mainstream part of the British summertime leisure experience. The overall number of outdoor music festivals staged in the UK doubled between 2005 and 2011 to reach a peak of over 500 events. UK Music (2016) estimates that the sector
The outdoor music festival market has developed and commercialised significantly since the mid-1990s, and is now a mainstream part of the British summertime leisure experience. The overall number of outdoor music festivals staged in the UK doubled between 2005 and 2011 to reach a peak of over 500 events. UK Music (2016) estimates that the sectorHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Chris Anderton is an Associate Professor at Solent University, UK, where he teaches music management, business, history and culture. He is co-author of the book Understanding the Music Industries (Sage, 2013) and has published book chapters and articles on music bootlegging, music blogs, progressive rock, and music festivals. He established the in-house music organisation Solent Music (solentmusic.com) in 2011 and is co-Executive Producer of the annual Solent SMILE Festival (smilefest.co.uk). His research interests include the cultural economy of music festivals and live events, the future of the music industries, and the 'hidden histories' of popular, underground and niche music genres.
Inhaltsangabe
1. Contextualising Outdoor Music Festivals in the UK 2. Proliferation, Professionalisation and Mainstreaming of Outdoor Music Festivals 3. Branded Landscapes: Sponsorship, Marketing and Mediation 4. Always the Same, Yet Always Different: Music Festivals as Cyclic Places 5. The Social Life of Music Festivals: Audiences and Atmosphere
1. Contextualising Outdoor Music Festivals in the UK 2. Proliferation, Professionalisation and Mainstreaming of Outdoor Music Festivals 3. Branded Landscapes: Sponsorship, Marketing and Mediation 4. Always the Same, Yet Always Different: Music Festivals as Cyclic Places 5. The Social Life of Music Festivals: Audiences and Atmosphere
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