cult3120 group 7

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Group 7 – Newcastle Music Activity

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Group 7 - Activity

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Cultural

Festival

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Cultural festivaloverview

By providing Newcastle with a Cultural MusicFestival, members of the community areable to indulge in a wide span of musicaltastes, ranging from pop/rock to country to

hip hop. Activities offered will both promotelocal bands and musicians, as well asexpose members of the area to the culturalmix existing within the region via thevehicle of music. Using information about

Newcastle's demographic scope, culturalevents can be relevantly presented atdifferent times and locations.

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Theme/Genre

The theme/genre presented at the festival willchange weekly (e.g. pop/rock, hip hop,country etc), however there will be differenttypes of cultural music every week (e.g.

indigenous music, Latin dancing etc). Thisaims to both draw members of variouscultural groups in, as well as exposemembers of the community to a variety of genres and styles. Having this broad range

of cultural music, the potential audiencecovers a number of cultural groups existingwithin the Newcastle area.

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Location

The festival will take place at two different

venues, with activities at the location

where the relevant cultural group is most

densely located.

The desired locations are:

Speers Point Park

Civic Park

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Music

The aim of the festival is to show case

what the local music scene has to offer,

presenting local bands and musicians,as well as provide various music

workshops to aid in the development of

Newcastle's music scene.

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Duration

The festival will run every Sunday over a

one month period during November.

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Other activities

As well as show casing local talent and

running music workshops, other

activities will be offered to interest other members of the community. These

include Singstar and Guitar Hero

competitions, and events to involve andpromote local school bands.

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What do Novocastrians want?

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What is “popular”music?

widely available to the general public, deliberately constructed to win favour of

the people,

circulated by the mass media, belonging to any number of musical

genres,

a site through which culturalreproduction and change takes place, sought after/popular

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Is popular music alwayspopular?

Scholars such as Theodor Adornobelieve that because the production of

popular music is driven by practicaldemands of consumption the resultingmusic becomes standardised andsacrifices its autonomy. Therefore

popular music is aesthetically deficient,simplistic, repetitive and boring.(Adorno, 2002)

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Popular music?

However, when considering Adorno’s harshcriticism of popular music it becomesapparent that he is judging the value of popular music in ways that are really onlyappropriate to the assessment of classicalmusic, and, although popular and classicalmusic are frequently compared to eachother they are in fact two completely

different types of music that requireseparate methods of evaluation (Gracyk,2008).

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Popular music?

Therefore, rather than using the ideals of

aesthetic theory to judge popular music

we should be valuing its ability to

represent social relationships andvalues that are a part of the culture

which created it (Gracyk, 2008).

Treating popular music as simply another ‘popular’ activity that people indulge in is

therefore, simply not sufficient.

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Why support popular musicat this cultural event?

We believe this is the best musical activitythat can be offered to Newcastle because itcombines the social and cultural value of popular music with the benefits of live

musical performances.The social and cultural value of popular music

is a result of the way in which it involvesboth a mental context of cultural valuesand goals, as well as an institutionalcontext of societal structures, and relatesto all kinds of interactions between differentpeople.

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Live performances

The element of a live performance

strengthens the positive impact of popular

music upon the community by offering what

David Pattie describes as the completemusical “experience” which allows for

communication between the performer and

the audience. As a result the audience is

included in the performance and are ableto invest it with their own meaning whilst

also socially sharing the experience (1999).

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Live performances

The social benefits of a live performanceemerge in the way that people respond toeach other during a concert or festivalevent which provides the opportunity todiscover others that appreciate a similar type of music and offers a sense of belonging for an individual. Simon Frithdescribes this communal appreciation of

music as a feeling of “oneness” of whichpopular performance is framed upon (1998p 216).

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Live performances

Live performance also offers listeners with

the oppurtinuty to experience music

physically by dancing. This is surely the

fundamental way in which music can beappreciated by all people of any culture

or society and does not serve to alienate

people by forcing the audience to listento music in an intellectual way without

moving (Baugh 1993).

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Live performances

Frith argues that through this experience

of live performance the usual cultural

constraints on expression are

suspended: “at the height of enjoymentat a rock concert, one can and does hug

strangers, leap into the mosh pit, turn

cartwheels on the floor” (1998 p216).

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Therefore...

Popular music, through live performance, canbe seen have an extremely positive impactupon the community by:

reinforcing social and cultural integrationby transcending social and cultural barriers contributing to the self confidence of

individuals and communities

participating in the expression of culturaldiversity

building upon an “inclusive Newcastle”

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Supporting (practical) Evidence

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Location

The city centre has a much younger

population than the larger outer suburbs.

Due to this we have decided to cater activities to particular age groups when

we change the locations of the festival.

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Location Cont.

http://www.planning.nsw.gov.au/newcastle/key-issues/demographic-context/

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Location Cont.

Example: Days in the Diocese were held

in the week leading up to World Youth

Day all over the Hunter. 5, 000 peopleattended.

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Ethnicity

We have chosen a cultures of the worldtheme because Newcastle is a culturalhub. The city centre has 17% and the

larger Newcastle area has 11% of thepopulation born overseas. This is greatlyincreasing and does not includenumbers of offspring with parents born

overseas. The overwhelming majoritiesare German, Sudanese, Polish andItalians.

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Ethnicity Cont.

Example: Mattara Festival running now

for 45 years, pulling on all aspects of culture and society to create a nine day

event.

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Cost – Free event

Middle income brackets are the most

common in Newcastle, with a greater %

of people being considered ‘poor’ incomparison to Sydney. For this reason

we have decided to make the event free

and therefore accessible to more

people.

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Cost Cont.

http://www.planning.nsw.gov.au/newcastle/key-issues/demographic-context/

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Cost Cont.

Example: L!vesites, a cultural program

running successfully since October 2003.

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Supporting (academic) evidence

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Functions of Music inSociety

There are many positive impacts of music on society.Some of these are:

• It allows emotional expression

• Gives aesthetic pleasure

• Creates physical responses,• Entertains

• Promotes social interactions

• Enhances one’s mood

• Can help one relax, concentrate, workout etc.(Levetin, D, 2007)

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Functions Cont.

• Our activities include acts from all differentcultures, and the purpose of this is to beaesthetically pleasing to all the members of society

•Within the different cultural acts we havechosen, there is a mixture of music that willappeal to the young (German DJ) and musicsuch as classical and opera that will appeal toan older crowd.

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Functions Cont.

Music as a form of entertainment/Social interaction

• As it is an activity that is ongoing over 4weeks, we created activities that would

encourage the guests to keep coming back.• Another major function of music is that it

facilitates and influences social interaction(Levetin, D.J, 2007) and one of the festivals

aims is to promote social integration andcreate an ‘inclusive Newcastle.’

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Functions Cont.

Mood Enhancement

• We need to provide music that willinfluence the mood of the people in apositive way.

• There will be predominately upbeat, feelgood music, and other activities such asdancing and didgeridoo lessons that will all

have a positive influence on theatmosphere of the event.North, A.C, Hargreaves, D.J & Hargreaves, J.J, 2004)

i l i

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Potential negativeimpacts

• Some music genres such as rap and hip-hopare seen to be bad influences on the youththat listen to it and a negative influence onsociety.

• The lyrics and essence of the song cansometimes be violent and aggressive, andmany people are concerned about thedetrimental effects that this promotion of

violence can bring.

i l i

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Potential negativeimpacts• It can be seen to be promoting unhealthy

lifestyles and exploiting young adolescentgirls. (SaeNgian, K, 2008)

• To address these concerns, we will not

include hip-hop or rap music that containsviolence and aggression, and for thosewho are against hip hop and rap music alltogether, there will be many differentalternate styles of music to choose from.

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References

NSW Department of Planning, 2006, Newcastle Planning,<http://www.planning.nsw.gov.au/newcastle/key-issues/demographic-context/>(Accessed 22 April 2009).

Levetin, D.J (2007) Life Soundtracks: The uses of music in everyday life, McGillUniversity, Montreal, QC Canada

North, A, Hargreaves, D, Hargreaves, J (2004) Uses of music in everyday life, Vol. 22,No. 1, 41-77

SaeNgian, K, (2008), Researcher cites negative influences of hip-hop, Pittsburgh Post-

Gazette, http://www.post-gazette.com/pg/08165/889550-51.stm Adorno, Theodor W (2002) “On Popular Music” In Essays on Music . Ed. RichardLeppert. Berkeley and Los Angeles: University of California Press pp. 437-69

Baugh, Bruce (1993) “Prolegomena to Any Aesthetics of Rock Music.” The Journal of Aesthetics and Art Criticism 51:1 pp. 23-29

Frith, Simon (1998) Performing Rites: On the Value of Popular Music , HarvardUniversity Press,

Gracyk, Theodore (2008) “The Aesthetics of Popular Music” The Internet Encyclopediaof Philosophy , Minnesota State University Moorhead,<http://www.iep.utm.edu/m/music-po.htm>

Pattie, David (1999) 4 Real: Authenticity, Performance, and Rock Music Enculturation,2:2

http://www.post-gazette.com/pg/08165/889550-51.stm



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