Group assignment powerpointPresentation Transcript
Inviting schools from the hunter
The age range is from 12-20 for workshops
All Ages festival.
3 day festival
What is popular music? Roy Shuker (2005, pg xiii) states that “popular music encompasses any style of music that has a following. Record sales, concert attendance, numbers of performers, radio and television airplay are all quantifiable indicators of popularity” Popular music can be seen as the main commercially produced and marketed musical genres. The emphasis is on traditional rock and pop forms and their various derivative genres such as rap, world music and the various style of dance music. As new technologies and globalisation has taken hold; popular music has changed in the way it is produced and consumed.
Audience We propose the workshops for 12-20 year olds because:
Every child is entitled to a worthwhile musical experience
It’s important to discover and encourage musical talents at a young age
Our original and unconventional approach gets kids involved who may not usually be interested in music
The discovery of talents helps youth find place in community and become culturally mature
Audience The concert portion of our assembly will be open to all ages because:
Music should be provided for the masses not just the privileged few
Large concert of variety of genres will help dissipate the idea that there should be separation of genres between young and old, the elite and the many.
Introduce both the artists of the current and established musical culture and also youth of today’s musical culture.
Music fulfills variety of functions:
Enforcing Conformity to Social Norms
Continuity and Stability of Culture
Performance Practice Techniques Class Music Industry - For Non Musicians: Sound Management Lights Band management
Open to public
Held on last night of festival
Drug and Alcohol free
Range in performers; local bands, youth bands from workshops, Indigenous acts, popular Australian bands…
Range of multi-cultural food for sale
Popular Music: Local and National bands performing who appeal to a wide range of people
All bands from different genres of music
Bands are a mixture of male/female acts to encourage both genders in pursuit of music
For entertainment but also to reflect what is learnt in the workshops-the process of creating music to performing it and to show how different musicians use their instruments in different ways
Bands volunteer to be part of the festival
Festival committee pay for national bands' basic needs-accommodation and food, as a gesture of thanks
Little Black Dress (Pop/Rock)
Short Stack (Rock)
The Speakers (Indie)
Bye ByeBirdy (Punk/Rock)
Mojo Juju and the Snake Oil Merchants (Cabaret/Punk)
Elgen and Jonny Utah (Hip Hop)
Sarah Sykes (Folk/Acoustic)
Newcastle University Choir (vocal)
The Living End
John Butler Trio
Angus and Julia Stone
A Social and Cultural Event! How will Newcastle Music and Cultural Festival promote social and cultural community values and the individual? Teaching, learning, appreciating and performing music Festival environment allow all users of music to participate
What will the festival provide for individual? Create positive moods, enhance awareness of self and environments, express, healthy social interaction Learning environment encourages aesthetic value Identity formation in social setting Promote interpersonal relationships
Promote Community Values? Venue symbolises the place where individuals get what they need from music Community benefits from cultural atmosphere when individual needs are met Culture of live performance People “attend such event fully expecting to be whipped up into some kind of communal frenzy” (Peter Earl 351)
References Kylan: Hanks, W. (1953). Music, a necessity. Music Educators Journal, 40(1), 74-75. Retrieved April 18, 2010 from JSTOR. Hargreaves, D. J. & North, A. C. (1999). The Functions of Music in Everyday Life: Redefining the Social in Music Psychology. Psychology of Music, 27(1), 71-83 Housewright, W. L., Sarig, E. R., MacCluskey, T., & Hughes, A. (1969). Music Educators Journal 56(3), 43-74.Retrieved April 18, 2010, from JSTOR. Newman, G. (1970). Doublethink and music education. Music Educators Journal, 56(8), 59-114. RetrievedApril18, 2010, from JSTOR. Sealey, J. L. (1949). Music and the adolescent. Music & Letters 30(1). Retrieved April 18, 2010, from JSTOR. Alex: Cohen, Sara. “Sounding Out the City: Music and the Sensuous Production of Place.” Transactions of the Institute of British Geographers. 1995. 20(4): 434-446.
Degmecic, Dunja., Pozgain, Ivan. And PavoFilakovic. “Music As Therapy.” International Review of the Aesthetics of Sociology of Music. 2005. 36(2): 287-300.
Earl, Peter. “Simon’s Travel Theorem and the Demand for Live Music.” Journal of Economic Psychology. 2001. 22: 335-358.
Hargreaves, David and Adrian North. “The Functions of Music in Everyday Life: Redefining the Social in Music Psychology”. Psychology of Music. 1999: 71-83.
North, Adrian., Hargreaves, David. And Jon Hargreaves. “Uses of Music in Everyday Life.” Music Perception. 2004. 22(1): 41-77.