Newcastle Music and Culture Festival

•Festival

•Cultural experience

•Education experience

•Inviting schools from the hunter

•The age range is from 12-20 for workshops

•All Ages festival.

•3 day festival

•Art

•Workshops

•Performances

•Competitions

•Food

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: • Entertainment• Aesthetic Enjoyment • Communication• Emotional expression • Enforcing Conformity to Social

Norms • Continuity and Stability of

Culture

Workshops

- For musicians:Performance Practice

Techniques ClassMusic Industry

- For Non Musicians:Sound Management

LightsBand management

Final Concert

• Open to public• Held on last night of festival• Free entry• 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

The Bands

• 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

Local Bands: • Little Black Dress (Pop/Rock) • Short Stack (Rock) • The Speakers (Indie) • Bye Bye Birdy (Punk/Rock) • Mojo Juju and the Snake Oil Merchants (Cabaret/Punk) • Elgen and Jonny Utah (Hip Hop) • Sarah Sykes (Folk/Acoustic) • Conservatorium Orchestra• Newcastle University Choir (vocal)

National Bands: • The Living End• John Butler Trio• Garbage• Angus and Julia Stone• Ash Grunwald•  Lisa Mitchell• Megan Washington

Newcastle EntertainmentCentre

 

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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)

ReferencesKylan: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), 71-83Housewright, 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. RetrievedApril 18, 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 Pavo Filakovic. “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.