Music And Tourism

Music and Tourism is the first book to comprehensively examine the links between travel and music. It combines contemporary and historical analysis of the economic and social impact of music tourism, with discussions of the cultural politics of authenticity and identity.

Music and Tourism is the first book to comprehensively examine the links between travel and music. It combines contemporary and historical analysis of the economic and social impact of music tourism, with discussions of the cultural politics of authenticity and identity. Music tourism evokes nostalgia and meaning, and celebrates both heritage and hedonism. It is a product of commercialisation that can create community, but that also often demands artistic compromise. Diverse case studies, from the USA and UK to Australia, Jamaica and Vanuatu, illustrate the global extent of music tourism, its contradictions and pleasures.

Through comparative empirical research, this book explores various types of music tourism in different locations across Europe and in relation to several genres of music, in order to develop a theoretical account of the complex ways in which music, place and tourism are connected in practice.

This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination—separately or combined—offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena—tourism and migration—are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.

In recent years there has been a considerable interest in the cultural aspects of tourism such as the impacts of culture on tourism planning, development, management, and marketing. However, the focus has been on material forms of culture such as arts, music, or crafts. The impacts of national culture on tourist behavior and travel decision-making have not been paid much attention. Only in the last two years have cross-cultural issues begun to generate significant interest among academics. An examination of cultural characteristics and differences is extremely important to the tourism industry because today’s tourism environment is becoming increasingly international. Information on the nature of the cultural differences between international tourists and locals is not readily available in tourism literature. The concept of culture is very complex and includes such abstract concepts as satisfaction, attitude and loyalty. International Tourism brings these concepts to the undergraduate student in tourism, as well as students in the related fields of marketing, management, international business, and cross-cultural communication. Designed as a textbook, it isorganized and presented in an integrated and relevant way for the benefit of a worldwide audience.

This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination—separately or combined—offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena—tourism and migration—are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.

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 attracts over 3.7 million attendances each year, and that music tourism as a whole sustains nearly 40,000 full-time jobs. Music Festivals in the UK is the first extended investigation into this commercialised rock and pop festival sector, and examines events of all sizes: from mega-events such as Glastonbury Festival, V Festival and the Reading and Leeds Festivals to ‘boutique’ events with maximum attendances as small as 250. In the past, research into festivals has typically focused either on their carnivalesque heritage or on developing managerial tools for the field of Events Management. Anderton moves beyond such perspectives to propose new ways of understanding and theorising the cultural, social and geographic importance of outdoor music festivals. He argues that changes in the sector since the mid-1990s, such as professionalisation, corporatisation, mediatisation, regulatory control, and sponsorship/branding, should not necessarily be regarded as a process of transgressive 'alternative culture’ being co-opted by commercial concerns; instead, such changes represent a reconfiguration of the sector in line with changes in society, and a broadening of the forms and meanings that may be associated with outdoor music events.

The fact that tourism is a major global industry forecast to continue its dramatic growth well into the twenty-first century is often cited as a rationale for its analysis. However, while the connection between individual locations and the world's global markets is an obvious product of tourism, the heart of the tourist experience is the construction of identity: the relation of the traveller to resident populations; the participants' views of themselves and others; tourists' search for authenticity and their testing of boundaries.This book significantly furthers current debates on tourism by asking important and vexing questions about the nature of the tourist experience: 'folk museums' that forget many of the 'folk' who live in the areas represented; the environments and events that are shaped to meet the 'imagined dreams' of tourist spectators; the categorization of visitors and returnees who take up residence and participate in the construction of 'local' identities; the evolving meanings associated with indigenous culture, tradition, heritage, representation, reality and authenticity. In renegotiating the definitions of tourism for the new millennium, this book represents a major contribution to an emerging and highly topical area of study.