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Group assignment powerpoint

  1. 1. NewcastleMusicandCultureFestival<br />
  2. 2. <ul><li>Festival
  3. 3. Cultural experience
  4. 4. Education experience
  5. 5. Inviting schools from the hunter
  6. 6. The age range is from 12-20 for workshops
  7. 7. All Ages festival. </li></li></ul><li><ul><li>3 day festival
  8. 8. Art
  9. 9. Workshops
  10. 10. Performances
  11. 11. Competitions
  12. 12. Food</li></li></ul><li>What is popular music?<br />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”<br />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.<br />
  13. 13. Audience<br />We propose the workshops for 12-20 year olds because:<br /><ul><li>Every child is entitled to a worthwhile musical experience
  14. 14. It’s important to discover and encourage musical talents at a young age
  15. 15. Our original and unconventional approach gets kids involved who may not usually be interested in music
  16. 16. The discovery of talents helps youth find place in community and become culturally mature </li></li></ul><li>Audience<br />The concert portion of our assembly will be open to all ages because: <br /><ul><li>Music should be provided for the masses not just the privileged few
  17. 17. 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.
  18. 18. Introduce both the artists of the current and established musical culture and also youth of today’s musical culture.</li></ul>Music fulfills variety of functions: <br /><ul><li>Entertainment
  19. 19. Aesthetic Enjoyment
  20. 20. Communication
  21. 21. Emotional expression
  22. 22. Enforcing Conformity to Social Norms
  23. 23. Continuity and Stability of Culture</li></li></ul><li>Workshops<br /><ul><li> For musicians:</li></ul>Performance Practice<br />Techniques Class<br />Music Industry<br />- For Non Musicians:<br />Sound Management<br />Lights<br />Band management<br />
  24. 24. Final Concert <br /><ul><li>Open to public
  25. 25. Held on last night of festival
  26. 26. Free entry
  27. 27. Drug and Alcohol free
  28. 28. Range in performers; local bands, youth bands from workshops, Indigenous acts, popular Australian bands…
  29. 29. Range of multi-cultural food for sale </li></li></ul><li>The Bands<br /><ul><li>Popular Music: Local and National bands performing who appeal to a wide range of people
  30. 30. All bands from different genres of music
  31. 31. Bands are a mixture of male/female acts to encourage both genders in pursuit of music
  32. 32. 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
  33. 33. Bands volunteer to be part of the festival
  34. 34. Festival committee pay for national bands' basic needs-accommodation and food, as a gesture of thanks </li></li></ul><li>Local Bands: <br /><ul><li> Little Black Dress (Pop/Rock)
  35. 35. Short Stack (Rock)
  36. 36. The Speakers (Indie)
  37. 37. Bye ByeBirdy (Punk/Rock)
  38. 38. Mojo Juju and the Snake Oil Merchants (Cabaret/Punk)
  39. 39. Elgen and Jonny Utah (Hip Hop)
  40. 40. Sarah Sykes (Folk/Acoustic)
  41. 41. Conservatorium Orchestra
  42. 42. Newcastle University Choir (vocal)</li></ul>National Bands: <br /><ul><li> The Living End
  43. 43. John Butler Trio
  44. 44. Garbage
  45. 45. Angus and Julia Stone
  46. 46. Ash Grunwald
  47. 47.  Lisa Mitchell
  48. 48. Megan Washington</li></li></ul><li>Newcastle EntertainmentCentre<br />
  49. 49.  <br /> <br />
  50. 50.
  51. 51.
  52. 52. A Social and Cultural Event!<br />How will Newcastle Music and Cultural Festival promote social and cultural community values and the individual?<br />Teaching, learning, appreciating and performing music<br />Festival environment allow all users of music to participate<br />
  53. 53. What will the festival provide for individual?<br />Create positive moods, enhance awareness of self and environments, express, healthy social interaction<br />Learning environment encourages aesthetic value<br />Identity formation in social setting<br />Promote interpersonal relationships<br />
  54. 54. Promote Community Values?<br />Venue symbolises the place where individuals get what they need from music<br />Community benefits from cultural atmosphere when individual needs are met<br />Culture of live performance<br />People “attend such event fully expecting to be whipped up into some kind of communal frenzy” (Peter Earl 351)<br />
  55. 55. References<br />Kylan:<br />Hanks, W. (1953). Music, a necessity. Music Educators Journal, 40(1), 74-75. Retrieved April 18, 2010 from JSTOR.<br />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<br />Housewright, W. L., Sarig, E. R., MacCluskey, T., & Hughes, A. (1969). Music Educators Journal 56(3), 43-74.Retrieved April 18, 2010, from JSTOR.<br />Newman, G. (1970). Doublethink and music education. Music Educators Journal, 56(8), 59-114. RetrievedApril18, 2010, from JSTOR.<br />Sealey, J. L. (1949). Music and the adolescent. Music & Letters 30(1). Retrieved April 18, 2010, from JSTOR.<br />Alex:<br />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. <br /> <br />Degmecic, Dunja., Pozgain, Ivan. And PavoFilakovic. “Music As Therapy.” International Review of the Aesthetics of Sociology of Music. 2005. 36(2): 287-300.<br /> <br />Earl, Peter. “Simon’s Travel Theorem and the Demand for Live Music.” Journal of Economic Psychology. 2001. 22: 335-358.<br /> <br />Hargreaves, David and Adrian North. “The Functions of Music in Everyday Life: Redefining the Social in Music Psychology”. Psychology of Music. 1999: 71-83.<br /> <br />North, Adrian., Hargreaves, David. And Jon Hargreaves. “Uses of Music in Everyday Life.” Music Perception. 2004. 22(1): 41-77.<br />

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