Concert Venue Research Articles

Rocking Under Orion’s Belt: The Rise and Fall of Seibu Kōdō as International Concert Venue

ABSTRACT An edifice resembling a temple hall and located on the outskirts of the Kyoto University campus, Seibu Kōdō, rose to national prominence in the early 1970s as a hub for the city’s burgeoning performing arts and rock music scene. Its reputation and legend quickly grew after hosting the MOJO WEST series, inaugurated in 1971, that included concerts by iconic Japanese bands such as Flower Travellin’ Band, Murahachibu, and Zunō keisatsu. Towards the end of the decade, Seibu Kōdō began attracting international performers, spearheaded by Frank Zappa and the Mothers of Invention in 1976. However, an incident during a concert by The Police in 1980 led to a permanent suspension of welcoming foreign acts. This article explores Seibu Kōdō’s formative years as a concert venue and the way its connections to the radical student movement, symbolised by the constellation of three red stars painted on its roof, informed its peculiar self-management model. This facilitated the venue’s use as a space for unrestricted artistic expression, but at the same time hindered its development beyond local significance.

Linking music, place and heritage: Anthonie Tonnon's Rail Land

AbstractI investigate intersections between music and mobilities as manifested in songwriter and musician Anthonie Tonnon's Rail Land tour of 2019–20. These concerts celebrated New Zealand's passenger rail heritage through not only performance but also by mobilising the audience to travel by train to the concert venue. The curation of both journey and destination amounted to a subtle activism. In influencing the way people travelled to his shows, Tonnon effectively remobilised a consideration of train travel in which the journey was arguably as memorable as the destination. As such, the artist was contributing to a re‐entwining of music, identity and place.

Low frequency sound limits for live amplified outdoor music

The Rock Sports Complex (ROC) in Franklin, Wisconsin contains a number of outdoor recreational facilities, including a minor league baseball stadium, a drive-in movie theater, an outdoor concert venue, practice fields, and a ski hill. Residents adjacent to and up to one and a half miles from the ROC have reported disturbances from sound generated by the facility both inside and outside of their homes. A sound study was undertaken to understand these concerns and to make recommendations for thresholds to be used to balance the desire for facility events with the concerns of nearby residents and businesses. One focus of this effort was the quantification of low frequency (~63 Hz) music from the outdoor concert venue at surrounding residences. This paper discusses the low frequencies generated by the facility, as measured in the surrounding communities, and how they compare to noise ordinances for other US municipalities.

The Analysis of the Impact of "Concert Craze" on Urban Development from the Perspective of Event Marketing

With the lifting of epidemic prevention policies in 2022, cultural and recreational activities have recovered. The large-scale concerts are held one after another. In daily life, there is a phenomenon showing that a certain city receives widespread attention on social media because a concert, or the arrival of a singer in a certain city triggers star-chasing among local fans. The economic value of these singers is so high that they can attract a large number of consumers in a short period. So, as a concert venue, promoting local culture and tourist attractions during the concert can not only revitalize the local tourism economy but also increase the popularity of the city itself. How to properly and successfully utilize these hot events. How should the local government and media publicize correctly? In this context, event marketing is an effective concert marketing solution. Event marketing is based on highly popular events and takes advantage of the high efficiency of news to achieve the purpose of viral marketing.

PENGALAMAN PELANGGAN MEMBELI TIKET KONSER COLDPLAY: MENAMBANG ULASAN ONLINE BERDASARKAN PEMODELAN TOPIK DAN ANALISIS SENTIMEN

This study aims to analyze customer experience in buying tickets for the Coldplay Concert in Indonesia using sentiment analysis and topic modelling. Data is collected from online customer reviews about concert ticket purchases via social media platforms such as Twitter. The stages of the research include data collection, data labelling, data pre-processing, topic modelling using Latent Dirichlet Allocation (LDA), sentiment analysis, and interpretation of the results. The results of the sentiment analysis show that most reviews are positive, with customers expressing satisfaction with the ticket-buying process, experience at the concert, Coldplay's performance, and customer service. Several primary topics frequently appearing in reviews have been identified through topic modelling, including ticket-buying, concert experience, ticket prices, customer service, concert performance, concert location, togetherness with fans, accessibility, concert facilities, and supporting events. The interpretation of each topic provides insight into customer preferences and expectations. Recommendations for concert organizers include improving customer service, ensuring performance quality, choosing a convenient concert location, and paying attention to accessibility and the atmosphere around the concert venue. This research provides an in-depth understanding of customer experience and can serve as a guide for concert organizers to improve customer experience in the future.

The Acoustics of the Palace of Charles V as a Cultural Heritage Concert Hall

This paper analyses the acoustic behaviour of the Palace of Charles V from a room acoustics perspective but also ponders the uniqueness of the space and its ability to engage and enhance the audience experience. The Palace of Charles V is a relevant part of the historical heritage of Granada. It has an architectural but also an acoustic uniqueness that deserves research. A measurement campaign was made to calculate parameters such as T30, IACC, C80 or Gm, and to explain the behaviour of the Palace. The BQI is quite high, but the late part of the impulse response (t > 80 ms) has strong unwanted reflections causing low clarity (C80) and listener envelopment (LEV). Nevertheless, the Palace is a successful concert venue with good feedback from musicians and the audience.

The Beginning of Memory

The Beginning of Memory

Shocking Intimacy: Techniques, Technologies, and Aesthetics of Amplification in Clara Iannotta’s “Intent on Resurrection”

“Certain sounds, even when they are loud or heard from close by, conjure small sources.” Small sounds, as Chion (2016) describes them in this quote, usually appear in intimate or contained settings, where their relatively low strength will not be spoiled by the masking effects of a noisy public sphere. What happens, however, when they are shared with an audience in a concert venue? Privileging a distributive understanding of agency, I explore the interactions of instruments, techniques, and processes through which the composer Clara Iannotta (b. 1983) brings small sounds to the public space of the concert hall in the first minute of her composition Intent on Resurrection – Spring or Some Such Thing (2014). By articulating the technological means harnessed to allow for the qualities of small sounds to emerge, I reveal the conditions that are required for sound to be recognized and experienced as intimate. Along the way, I draw connections between the amplification aesthetics of Iannotta’s work and Hyperrealist art, and theorize the concept of the “grain of the instrument” drawing on ideas from Roland Barthes, Pierre Schaeffer, and Brian Kane.

Exploring the jazz festival experience amongst local and non-local residents: The case of the Jazzaldia Festival in Spain

PurposeThe purpose of this paper is to explore the jazz festival experience at the Heineken Jazzaldia Festival in San Sebastian, Spain. It focuses especially on the relationship between participants’ area of residence and their experience of the festival, concert expectations, preference for different festival settings and perception of the best aspects of the festival.Design/methodology/approachThis study modifies and applies the Audience Experience Survey (Radbourne et al., 2009) to the Heineken Jazzaldia Festival in San Sebastian, Spain. A total of 406 valid questionnaires were obtained. A quantitative analysis technique was used for the area of residence, on the one hand, and for concert expectations, audience experience and venue setting, on the other. A qualitative approach was applied for identifying the best aspects of the festival.FindingsThe results suggest that the audiences’ festival preferences differed according to their area of residence. Audience members who lived in Spain outside of the Basque Country were more motivated to attend the festival, had higher concert expectations and greater indoor venue concert attendance, and considered music diversity to be one of the most important aspects of the festival. Local participants were more likely not to have expectations prior to concerts, had higher outdoor venue concert attendance rates and preferred ambience compared with residents from outside of the Basque Country.Practical implicationsFindings could be relevant to festivals’ organisers for management and marketing purposes in terms of their audiences’ needs and preferences. One of the main results obtained is that local residents were more likely not to have expectations prior to concerts. They also equalised music diversity, artists, stages and atmosphere as the best Festival’s aspects while participants from outside of the Basque Country prioritised music diversity aspect.Originality/valueThis paper contributes to the literature regarding residents’ behaviour in the Spanish music festival context. Our findings add to the body of knowledge around local audiences’ and non-local audience’s experience in jazz festivals.

The cultural policies of a popular music venue: the case of Strasbourg's Espace Django

PurposeThis article discusses local cultural policies addressing popular music, and the values they imply, through a case study of Strasbourg's Espace Django, a publicly financed concert venue located in a disadvantaged neighborhood.Design/methodology/approachEspace Django's structural organization and overall cultural “philosophy” are described on the basis of field interviews and several documents related to the venue; they are then discussed in relation to literature on urban cultural policies and French policies concerning popular music.FindingsEspace Django's activities embody a will to improve social interactions within local communities. The venue does not fit in either the “music city” or the “creative cluster” theoretical model. However, its policies belong to the French institutional tradition of Développement Culturel, and they express a tendency toward eventification and the experience economy.Originality/valueIn France, the public sector plays an important role in cultural practices, mostly through funding and policymaking. The example of Espace Django adds a distinct French perspective to a research field mainly centered on Anglo-Saxon countries and more liberal economies. Also, the appendix on Espace Django's response to the coronavirus disease 2019 (COVID-19) health crisis adds interesting elements for understanding what are the successful choices in the current cultural scenario.

This Is What It Sounds Like: Intimate Karaoke, Live at Uterine Concert Hall

This article explores the role of sound in Intimate Karaoke, Live at Uterine Concert Hall, an interactive durational performance that features Dayna McLeod’s body as a concert venue. Here, practice-based methods that were used to generate knowledge through hands-on investigation and performance are detailed, as are experimentations with different presentations of her body and sound. This article discusses the relationship between this performance piece and failure, queerness, middle-ageing, and non-reproduction against a cultural backdrop that reveres art star success, youth, heterosexuality, and childbearing. In creating Intimate Karaoke, Live at Uterine Concert Hall, the artist was interested in proposing her uterus as a queer performance site in order to draw attention to these cultural biases while assigning a new kind of value to her middle-ageing, queer, female body. Sound is central to the formal circuitry of the piece as it shapes the representational status of her body and enables the performance to function. Intimate Karaoke is the umbrella term for both the formal construction of the performance and the affective methods of engagement that were employed in the creation of the work, which both rely on and challenge notions of vulnerability, intimacy, and familiarity. This article examines how the design of the performance focused the audience’s attention on the often heteronormative and reproductive expectations aimed at women’s bodies while questioning why we feel entitled to make demands on these bodies in the first place.

ИСТОРИЯ ИСКУССТВА ОФОРМЛЕНИЯ МУЗЫКАЛЬНЫХ КЛУБОВ И ТАПИССЕРИЯ В ДИЗАЙНЕ ИНТЕРЬЕРА КУЛЬТУРНОГО ЦЕНТРА

The paper displays the history of the emergence and development of music clubs in Tsarist Russia in the 18th and 19th centuries and the post-revolutionary period of the clubs' existence in Soviet Russia, examines the artwork of carpet makers (artist of tapestry, according to the accepted international terminology) who shape interior design of the concert halls, and provides an integral description of the concert hall in culture as a unity of the concert venue and a specific concert space. Owing to a significant historical event — the entry of Crimea and Sevastopol into the Russian Federation, the carpet becomes a means of self-identification for the people. In our time, the relevance and viability of tapestry is proved by the experience of modern architects, who do not abandon this type of creativity that has a thousand-year tradition and successfully use it in the interiors of modern architecture aiming to create a positive image. The involvement of cultural elements into modern the art is extremely relevant. Having entered the Russian legal and economic space, Crimea is at the same time included into the cultural area of Russia. A group of Russian artists, musicians, writers and environmentalists came up with the idea of creating a universal, multifunctional, innovative, cultural center of the new time in Crimea. The paper represents an attempt to give a comprehensive analysis of the activities of artists engaged in creating carpets and interiors of music clubs, in particular, clubs in the Crimea, in Yalta.

Colloquy: Attention, Anxiety, and Audition's Histories

### FRANCESCA BRITTAN and CARMEL RAZ > Fiction may struggle to hold us spellbound in the manner of music, but its prompting of more diverted states of mind, and its depictions of the richness and freedom found in the sloppiness of drifting thought, suggests how constricted a world can be that

여가 생활로서 콘서트 참관객의 개인적 특성, 참가동기가 주관적 건강인지도에 미치는 영향

The purpose of this study was to investigate the relationship between motivation, demographic information and perception on health of concert audience who participated in a semi-classic concert held in June 16-17 at Auditorium, Busan Exhibition and Convention Center(BEXCO). To achieve the purpose of the study, 250 survey questionnaire was distributed at the concert venue and fandom goods was distributed for those who voluntarily filled in the survey. The data analysis was done by factor analysis and regression through SPSS 12.0. The results of this study showed that personal background influenced motivation and perception on health among concert participants. Discussions and implications were provided based on the findings of the study.

Biophilia and Sustainable Museum Education Practices

Museums offer significant learning experiences that contribute to sustainable societies and lifelong learning. However, museum education has historically been a field in flux, and a constant revitalization is needed. This paper examines Biophilia, created by artist and musician Björk, as a case-study to illustrate the potential of its pedagogical approach to affect sustainable museum learning practices. Biophilia inspires children to learn about sound, science, and nature through technology; it is an app-album that manifested itself in a museum context both as a concert venue and a multi-disciplinary experimental educational platform – ideal for museum learning. While the project was formally implemented in Iceland through high levels of inter-institutional collaboration, its theoretical relationship to museum education and critical pedagogy of place was overlooked. Using the Biophilia’s analogy of an ‘infectious virus’ and a futurist’s framework of creativity and play, I ask: what can the field of museum education learn from Biophilia?

A lively tour of 18th-century Edinburgh

Somewhere between a popular history and a scholarly monograph, this book surveys the history of the Edinburgh Music Society, a genteel music club that lasted from the mid 1720s to the mid 1790s. Its legacy includes St Cecilia’s Hall, the second dedicated concert venue to be built in Britain, completed in about 1763. The society also left a staggeringly rich store of documents, letters, memoranda and miscellanea, with a breadth and completeness many historians of London musical life would envy. Its membership was full of lawyers, who preferred thorough documentation of even the smallest expense; the aristocratic connections of its directors ensured extensive holdings of papers found their way into the libraries of important collectors such as Elizabeth Montagu and the Innes of Stow. One of these sets of papers are the titular Accounts of Incidents produced by the society’s ‘servant’ (hired secretary), Thomas Sanderson, giving detailed records of the day-to-day expenses of running a music society. The pages of these accounts reproduced in facsimile in Hillman’s book provide fascinating data: the cost of postage for printed music from London to Edinburgh; the value of violin rosin; the volume of candles purchased for rehearsals and concerts.

The 10th Annual Meeting of the Japanese Society for Pharmaceutical Palliative Care and Sciences

The 10th Annual Meeting of the Japanese Society for Pharmaceutical Palliative Care and Sciences was held at Act City Hamamatsu, Japan, with a total of 2634 participants in attendance. The theme of the meeting was realized through a number of new concepts, such as a debate symposium, information sessions, nurses' workshops, and so on. The results obtained from the participation questionnaire (n=438), which were aggregated up to 1 month following the end of this year's meeting, revealed that 89% of the participants at considered it to have been appealing. In particular, 63% of the participants favored the adoption of a debate symposium whereby it was possible to ask and respond to questions in real time. In the free comments section of the questionnaire, the participants expressed how they felt the debate symposium made it easy to give their opinions, and that this element might be further developed in the future. They also stated that they found the introduction of the Clica system effective in terms of making the annual meeting an active learning place. One issue that was highlighted concerned the observation that the hall used to host the symposium was designed as a concert venue, which meant it was highly shielded from the outside environment, in addition to access to the internet being blocked. I hope that many of the projects from this Annual Meeting will serve to guide the future style of the Society's Annual Meetings.

Balancing uniform visual appearance with the need for adjustable acoustics in a concert venue: A case study

An acoustician’s recommendations for adjustable acoustics curtains in a concert venue sometimes comes into conflict with the architect’s aesthetic vision for the space. The architectural intent is usually for patrons to have a uniform visual experience of the room, regardless of the setting of the adjustable acoustics elements. This leads to the need for architecturally interesting, acoustically transparent elements, such as perforated metal or wooden grills, that can fully or partially hide the adjustable curtains from the eyes of the audience. This paper presents a summary of the collaboration between Acoustic Distinctions and the architectural firm HGA in designing sound-transparent, patterned wood grills that enable a visually attractive and consistent architectural aesthetic, regardless of the settings of the adjustable acoustics curtains behind, in the Kracum Performance Hall at Carleton College. The wood grills—designed collaboratively by the acoustician and architect—were mocked-up and acoustical ...

Soundscape design of an open-air concert venue using virtual reality technologies

Hong Kong has two mega-projects underway that include open-air concert venues. One of them is called the Kai Tak Sports Park and another is the West Kowloon Cultural District. As an open-air concert venue will produce amplified music and noise from audience, as well as vehicular traffic noise and crowd noise before and after the concerts, a priori analysis of soundscape and noisescape in the district due to musical events is highly desirable. This paper reviews some noise incidents due to concerts at the Hong Kong Stadium and Chinese operas at other public places. We suggest that virtual reality technologies shall be utilized so that stakeholders can hear the possible soundscape and noisescape at different periods of a musical event during the public engagement.

Design and construction process in campus open spaces: A case study of Karadeniz Technical University

Universities comprise buildings in which education, teaching, research and practice are undertaken as well as physical structures with social and cultural activity spaces. They’ve a constantly evolving and changing structure in parallel to an increase in the number of students and the educational structures. Increasing number of physical structures result in failure to meet students’ requirements for open space. Nevertheless, university campuses should ensure that students who do not know each other get to know each other and get used to the environment to which they are strangers by providing students with common living spaces. For this reason, it was considered to re-design an outdoor area (festival area) in Karadeniz technical university campus, where students can perform their extracurricular activities and increase their social relations with one another. As a result of the literature review, it was seen that most of the studies are either carried out only to design successful outdoor spaces for the needs of the users or the spaces designed by other people are assessed after use. Consequently, it was determined that there are certain deficits in determining whether the spaces designed in line with the decisions made by the researcher fulfil user needs. For this reason, it was aimed in this study to make the post-use evaluation of the production process after the outdoor design process of a campus outdoor space is completed by the researcher. The present study was conducted in Kanuni Park (festival area) in main campus of Karadeniz Technical University, which is currently used as a parking lot only and sometimes used as a concert venue at certain times of the year. The objective of the study was to realize spatial organization of the said study area so that it meets the students’ needs and requirements, serves as a space where various activities take place, and provides facilities for a variety of uses (affordance) on a continuous basis, rather than at certain times of the year. Therefore, programming/design/construction/occupancy/post occupancy evaluation processes which comprise spatial development process were performed within Kanuni Park and such processes were evaluated.