Music as an Element of Tourism Innovation: Types of Nightlife Premises in Ibiza (Spain)

[Abstract]: The island of Ibiza is a western Mediterranean destination known internationally for its nightlife. The aim of this paper is to make a proposal to classify the different types of premises in the Ibiza nightlife offer. This involves making a first definition that allows to delimit which businesses are parts of the sector. The methodology used is based on the case study and specifically, on the review of the promotional actions and activities carried out, completed with the visit to the premises. The classification has been made based on the offer marketed and not only on the legal forms used, as innovation goes ahead of the existing legal classifications. Although it is a particular application, due to the international importance of Ibiza, it is a good starting point to classify the nightlife offer of many other tourist destinations. The resulting typology divides the sector into two large groups: nightclubs and other premises. While nightclubs have musical parties as their main activity declared, the other premises have accommodation or catering as their main activity, with music being an element of differentiation. Nightclubs are divided into several subgroups, depending on their size and relevance. The other premises are subdivided into Beach Clubs, Hotel Clubs, Party Boats, Lounge Clubs, Disco Pubs, among others.European Regional Development Fund of the European Union through the reference grant GR21161

Electronic Dance Music Events as Modern-Day Ritual

Electronic dance music (EDM) events may function as a ritual space for psycho-spiritual exploration and personal development, often linked to the occurrence of non-ordinary states of consciousness in participants. This paper reviews the literature addressing the spiritual, religious, and transpersonal facets of participants’ experiences at EDM events, with an emphasis on the subsequent integration of these experiences into daily life. Several empirical studies conducted in the past two decades, of which the most recent was conducted by the first author of the present paper (Redfield, 2017, this issue), provides grounds to argue that EDM events can be vectors for enhancing personal and psychosocial wellbeing for their participants—a discussion that was omitted in previous studies that strictly emphasized either the dangers or the purely hedonistic nature of EDM participation. The paper concludes with suggestions for further research into the specific ways in which EDM events may benefit individual participants

Occupational Noise exposure in Amplified Music Venues in Leinster; an Exploratory Risk Analysis.

Due to transposition of the EU Directive 2003/10/EC into Irish Law, the entertainment sector was obligated to comply with the requirements of the Safety, Health and Welfare at Work (General Application) Regulations 2007, Chapter 1 Part 5: Control of Noise at Work since February 2008. Despite this, there is a lack of baseline data on the adoption and appreciation of these regulations within the sector. The aim of this study was to conduct an exploratory risk analysis of occupational noise exposure in nightclubs and examine the application of occupational noise legislation in this industry. Noise risk assessments were conducted in twenty Leinster nightclub/discobars to establish employee noise exposure and their risk of noise-induced hearing impairment. Compliance with the requirements of the Noise Regulations, 2007 and the opinions of the enforcement officers was also examined. Octave band analysis was conducted to select suitable hearing protection for employees. Finally, attitudes towards the use of control measures such as hearing protection, were explored through focus groups and training interventions. The average nightclub bartenders’ daily noise exposure (LEX, 8h) was 92 dBA, almost four times more than the accepted legal limit. None of the venues examined were fully compliant with the requirements of the 2007 Noise Regulations and awareness of this legislation was limited. Hearing protection was only worn by employees in one venue. The training intervention led to a significant increase in employees’ noise knowledge, but without managements encouragement hearing protection use did not significantly increase

BioSync: An Informed Participatory Interface for Audience Dynamics and Audiovisual Content Co-creation using Mobile PPG and EEG

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Music, Musicians and Barroom Aggression

The purpose of this study was to explore the relationship between live bands and the music they play and aggression in barrooms catering to young, college-aged patrons. Twenty musicians representing 14 different cover bands playing in licensed drinking establishments throughout Northeast Pennsylvania were interviewed about their influence on the behaviors of bar patrons. Content analysis of completed interviews revealed several important findings. Most notably, each of the musicians interviewed in this study reported being able to control and manipulate patron behavior, not just through the music they play, but also through their stage presence, their physical appearance and attire, and the way they interact with patrons while on and away from the stage. While none of the musicians reported ever deliberately trying to push bar patrons towards aggression, most agreed that they had the power to do so if desired. Conversely, musicians identified themselves as potentially important agents of social control within bars. Implications for future research and policy are discussed

Electronic Dance Music: From Deviant Subculture to Culture Industry

Utilizing a mixed qualitative research methods design, including interviews, ethnographic field work, and analyzing historical documents, I examine the Electronic Dance Music (EDM) subculture, since its inception in the late 80s as a deviant subculture. Previous studies of raves and other music subcultures focus almost exclusively on the role of popularity in transforming the subculture. In this research, I found, in the case of EDM at least, a more complicated process in which structural factors such as mass media, public officials (politicians and law enforcement), and major music corporations played a prominent role in the transformation. Media coverage focused on sensationalized cases of widespread drug use, while public officials responded by passing and enforcing legislation that forced EDM organizers into more legitimate venues. This change in venue brought them to the attention of the music industry, who saw a new opportunity to make money. By “rationalizing” the production, distribution, and consumption (especially via corporate advertising) of electronic dance music for profit, the original subcultural, even countercultural, values of PLUR (peace, love, unity, respect), solidarity, and authenticity were undermined. These changes resulted in the group being transformed into what Horkheimer and Adorno ([1944] 1972) called a culture industry. Electronic dance music is today dominated by large-scale entertainment corporations who employ a formulaic marketing strategy in the production of EDM events for a mass audience

An empirical study into the learning practices and enculturation of DJs, turntablists, hip hop and dance music producers

This study explores the music practices and learning strategies of nine popular electronic musicians (DJs, turntablists, hip hop and dance music producers) through the consideration of current literature in empirical music studies, trends in music education and the theme of musical enculturation as a key component of a popular electronic musician’s development. Following the investigation into the learning practices employed by the musicians, as they gather the necessary skills and knowledge to compose, arrange, produce and perform dance and hip hop genres of electronic music, the article goes on to consider whether the learning practices and values expressed by the musicians could be realistically adapted or included within formal music education

The Digital Discotheque. Club Events in the Internet Age

This paper aims to explore the receptive and aesthetic characteristics of the discotheque (or club) event as it has become a digitized and globally shared phenomenon of internet culture. By analyzing DJ Harvey’s performance at the Boiler Room Milan, I will point out, first, the immediate experience of this new form of entertainment in juxtaposition to traditional clubbing; second, the wider implications of this shift, particularly in terms of the roles of the DJ and the club space, aspects of performance, participation as well as social practices