Music + Travel by cdavayou

CONTENTS + CONFERENCE SCHEDULE 4

Day 1

Speaker #1

OPENING + INTRODUCTION 10AM - 12PM LUNCH 12PM - 1PM SPEAKER NO. 1 1PM - 3PM

Speaker #2

Day 2

Speaker #3

SPEAKER NO. 2 10AM - 12PM LUNCH 12PM - 1PM SPEAKER NO. 3 1PM - 3PM

Moderator

Day 3

PANEL QUESTIONS 10AM - 12PM LUNCH 12PM - 1PM MODERATOR + CLOSING 1PM - 3PM

Introduction

References

INTRODUCTION HOW DOES MUSIC EFFECT TRAVEL?

97,000,000+ SONGS IN EXISTENCE

18 HOURS OF MUSIC LISTENED TO WEEKLY

10,000,000,000+ PLAYLISTS CREATED

On average, people listen to atleast 18 hours of music every week. There are more than 97 million songs that exist in todays day. People have made over 10 billion playlists. Music is everywhere. And while music is everywhere, so are people. Whether it be a walk to a car, a walk to a park, a roadtrip, a hike, a plane ride, anything - people are listening to music. But why? Multiple studies have have answered this question. There is a huge correlation between people’s mood and the music they listen to. Happy music makes people happy, sad music makes people feel sad. The connection between them is continued when it comes to travel. People listen to music when they travel to enhance their mood, experience, aura, etc. The music someone would listen to on their way to work could be very different from the music they listen to on the plane ride to Jamaica, but it still has the same effect, it effects their mood.

HOW DESTINATION MUSIC AFFECTS TOURISTS’ TRAVEL EDUCATION:

Nanjing University ShanghaiTech University PhD at Howard Hughes Medical Institute investigator Brenda Schulman

STUDY:

Biomedical Engineering

SPEAKER NO.1

MIN ZHUANG

“Recent music tourism researches are notable owing to growing socioeconomic significance of music. But the question about how music affects tourists’ behaviors in travel practice remains there. Results show that tourists’ behavioral intentions are influenced by musicinduced emotions which are stimulated by music perception and music cognition. This paper provides a new insight into music characteristics in tourism and new ways for how tourism destinations engage with music.”

HOW DESTINATION MUSIC AFFECTS TOURISTS’ TRAVEL The relationship between music and place is explored through biographical information on one particular individual and his social activities and networks city of Liverpool. Music plays a role in producing place as a material setting comprising the physical and built environment; as a setting for everyday socia relations, practices and interactions; and as a concept or symbol that is represe interpreted. This production of place through music is shown to be a contest ideological process, whilst the dynamic interrelationship between music and pl suggests that music plays a very particular and sensual role. Music. It’s such a critical piece of our lives. We have a passionate association with it. It has the ability to make us upbeat or pitiful. It spurs us to exercise or work harder. It unwinds and quiets us. It’s difficult to consider whatever else

on the planet that has this power The Powerful Relationship Music-Travel. Music reflects social, economic, political and material aspects of the particular place in which it is created. Changes in place thus influence changes rin musical sounds and styles (hence the gradual danglicization of eastern European synagogue dmusic brought to Liverpool). The discussion. Music reflects social, economic, political and material aspects of the particular place in which it is created. Changes in place thus influence changes in music and styles (hence the gradual anglicization of eastern European synagogue music brought to Liverpool). The discussion has highlighted, however, ways in which music not just reflects but also produces place. First, music is bound up with the social production of place. The discussion has illustrated ways, for example, in which music acts as a focus or frame for social gatherings, special occasions and celebrations; provokes physical movement or dance; and involves

everyday social interactions such as the exchange of records and other musical artifacts, as well as business and industrial activity. Such musical practices have been shown to establish, maintain, although, transform social relations and to define and shape material and geographical settings for social action. At the same time, music has been discussed as conceptual and symbolic practice. Music can, for example, be intentionally used to represent place. Lyrics might refer directly to specific places but musical sounds and structures might also represent place, either through culturally familiar symbols (accordions, for example, to represent France, or the augmented fourth to represent the Orient (Stokes Notes) musical symbols associate places with particular images, emotions, meanings and they provoke or shape social action. Hence, anthems and Zionist songs inspire nationalist sentiments and movements whilst other musical styles might be linked in similar ways with issues of class and hierarchy.

The production of place through music is always political and contested process and music has been on musical time. shown to be implicated in the politics of a place, the struggle foar identidy and belonging, power and perstrige.

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Music has the ability to evoke powerful emotional responses such as chills and thrills in listeners. Positive emotions dominate musical experiences. Pleasurable music may lead to the release of neurotransmitters associated with reward, such as dopamine. Listening to music is an easy way to alter mood or relieve stress.

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THE RELATIONSHIP BETWEEN MUSIC AND TRAVEL

SPEAKER NO. 2

PHYLLIS J. BELK Phyllis is a Sound Engineer with a lot of passion for analyzingmusic. She loves discussing various problems concerning sound devices. She has been in the field of Sound Engineering for more than 13 years now. She often shares her experiences in her blog aiming to provide readers with working solutions to various sound issues on top of muscial facts and information.

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Stopping to take photos, discover exciting sites, and learn about the culture of the place you are visiting are some of the things that make a trip enjoyable. However, there is one thing that almost everyone considers the best thing to do while traveling – listening to music. Whether you are traveling on land, water, or air, the presence or absence of music can completely change your travel experience.

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THE RELATIONSHIP BETWEEN MUSIC AND TRAVEL Stopping to take photos, discover exciting sites, and learn about the culture of the place you are visiting are some of the things that make a trip enjoyable. However, there is one thing that almost everyone considers the best thing to do while traveling – listening to music. Whether you are traveling on land, water, or air, the presence or absence of music can completely change your travel experience. Music and travel go together like peanut butter and jelly. There is a special kind of joy that comes with soaking up the sounds around you when you are on a trip.

MUSIC CREATES MEMORIES Do you have a song that takes you back to a specific time and place immediately it hits the air? Avid travelers are also lovers of music. The strongest of their memories from travels are related to particular songs. If you ask a friend to narrate about their holiday, they

might not find it easy. On the other hand, a song can arouse a strong memory or emotion. Once the friend hears a song that relates to their travel experience, they will excitedly tell you a memorable story about the adventures they had. You can feel as if you were there. Accommodation and entertainment businesses have discovered the importance of music during travel. Some have introduced a ‘signature sound’ for their establishments, which is part of aural branding to make guests connect to the facility. Music makes strong aural memories. It completes the travel experience as travel is about taking in the experience with all senses. You need to look at sights, taste local food, smell a different environment, and hear enjoyable music to have the full value of your travels.

MUSIC GIVES THE ENERGY TO PERSERVE Traveling can be challenging at times. When you drive on difficult terrain or during gloomy weather, some sweet jams oozing from your subs will keep you calm. Music makes

even the longest journeys bearable as it takes your mind away from the current temporary but challenging situation. Research shows that music reduces anxiety and ushers in a wave of calmness. For this reason, don’t forget to put together an excellent playlist when preparing for a long journey. If you are planning a long trip by road, make sure you have your car audio system in good order. Taking these two steps will help you a great deal to get through the long journey regardless of however hectic it is.

MUSIC CONNECTS PEOPLE One of the remarkable benefits of travel is the chance to interact with and learn something about the local people. Talking with people is the most effective way of interaction. With music, it is easy to trigger a conversation. For instance, carrying a musical instrument like a guitar showcases your interest in music. Somehow, everyone likes to have a friend who loves music. Even something as simple as singing a line of your favorite music can lead to amazing experiences with strangers. You can get

to know a person better by having a conversation about your favorite music as well as theirs. No matter where you go, music will help you to understand people better. When you travel to a destination and don’t know a single word of the language used there, use the universal language – music. Playing a happy song makes one seem friendly. Similarly, hearing a lovely song being played by locals makes you feel welcome.

MUSIC HELPS YOU GET INTO THE LOCAL “VIBE” EASILY When you travel to a place you’ve never been to before, you want to feel like you fit in even if you will be there for two days only. You want to experience life there the best way you can. But getting this experience is very difficult if you don’t have an idea of the local flow of things. Knowing and listening to local music can help you dive into the vibe of a new place sooner. It is great to find a venue where there are concerts and music scenes of the like. It will take your travel experience to a higher level. Besides, stepping out

of the box and listening to unfamiliar music will add flavor to your travel. You create for yourself an experience that is unique, private, and personal. Also, music can help you learn a new language faster. Music has a melody that’s easy to remember, so you can use it to learn a foreign language. Learning a language through music also informs one about the mindset of a culture. Are you planning to travel to a foreign country and want to have some basic knowledge of the foreign language? You can start listening to songs sang in that language as you drive to and from work.

MUSIC REDUCES THE CHANCES OF GETTING BORED Some people find traveling boring. However, travel is a different story with music. Listening to it will keep your energy levels high to the end of the journey. Music can make your body do things it doesn’t want to do. Compare the time you can exercise while music plays with when there is no music. For the majority of people, music is a significant mood booster.

If you are taking your family out on a road trip, the chances are that your children will get bored at some point. Music does the magic that nothing else can. Prepare a friendly playlist for them in earnest.

There is a strong relationship between music and travel. The two make each other better. You find it more enjoyable to travel while listening to music. The same way, your favorite jam can sound sweeter when you are speeding on a good road. With a wellchosen playlist, a reliable stereo system and great car speakers, your road travels are nothing less of total enjoyment. You don’t get bored but instead remain in good spirits to the end of the journey. Also, music connects you to the local area you visit, its language, and its people.

MUSIC, TRAVEL, AND TOURISM 14

MARTIN STOKES SPEAKER NO.3

Studied: Policy and society Arts, culture and media Martin Stokes is the King Edward Professor of Music. He studied first music, then social anthropology at Oxford. He taught at The Queen’s University of Belfast (1989-1997), The University of Chicago (1997-2007) and Oxford University (2007-2012). He was a Howard Foundation Fellow at the Chicago Humanities Institute in 2002-2003.

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Discussing the articles in this special issue with reference to the more general literature on tourism and travel , the article presents tourism ethnomusicology as a challenging and complex field of study, indicating some of its breadth and diversity and some of the possible directions in which it could go. It argues throughout for more nuanced ethnographic research , such as has emerged over the last decade in the anthropology of tourism, taking into account at least some of the motivations of actors and agents in tourist encounters and exchanges and the specificities of music as a form of social engagement. The article focuses in particular on issues surrounding authenticity and representation , locality, nostalgia, work, leisure, the payment of musicians, and tourism as secular pilgrimage.

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MUSIC, TOURISM, AND TRAVEL John Urry once defined tourism as “a leisure activity which presupposes its oppo namely organised and regulated work” (1985:2). A number of writers have illust ed some of the difficulties with this definition. Abram, Waldren and MacLeo (1997:2) raise, in response, the question of working holidays, and along with it possibility of defining the term “tourism” in any analytically useful way. MacC nell suggested, in an influential book, that in the post-industrial world, leisure lies at the centre of people’s social and cultural relationships, and not work. Lei is now where we develop, or at least try to develop, coherent narratives of self, in a neat irony, the workplace has itself become a touristic curiosity (MacCan 1989:78). In other words, one might argue that there

is no longer a world of w with which touristic “leisure” is meaningfully contrast, except as a rather fr phantasmagoria that tourism itself procuces. Vicki Brennan’s working musical farm, discussed in this issue, illustrates t point that tourism, and musical tourism in a particularly interesting way, is much about how certain kinds of labour are valorised and others not. The hillside above the barn in which the music festival is held is artfully “crowned by a rusting old tractor, an artefact from the farm’s earlier years as a working dairy.” The pigs provide a focus for entertaining children, and then food for next year’s festival. In addition to last year’s pigs, festival attendees eat food from the festival’s vegetable garden in a nostalgic idyll of a selfsufficient rural community, in which “all” are engaged in its maintenance. However, the grim business of running a farm, of maintaining farm machinery and facilities, of slaughtering animals and

so forth is bracketed and either ignored, as far as possible, or “othered” in banter and in quasihumorous published reminiscences of country life in the Olympic peninsula by middle-class incomers. The butcher is specifically requested to go about his business in such a way that the screaming of the pigs does not disturb the afternoon music rehearsals. A working-class couple, with their John Deere baseball caps and 16 oz. sodas, is driven away from the festival. The director insultingly refers to them as ‘freeloaders’. Efforts make to efface work (and workers), to make things happen in such away that they seem to be an inevitable consequence of the way things are, invariably demands the most intensive critical attention. Music is framed by the concept of “work” in interesting ways. The professional chamber music players at this music festival, and of course most other kinds of musical retreat, camp and so forth, come with

an elaborate apparatus of biography and professional puffing that constructs the musical career around an orderly work narra- tive (“x studied at..., worked with..., gave performances/ master classes at..., is cur- rently working on...”). Audiences, largely professional people, expect professional services for their money. Whilst music may be used with increasing intensity to promote certain cities as tourist sites, it certainly seems to be the case that musicians rarely benefit in any direct and sustainable ways from the promotion of tourist locales that make much of “local music.” France is one of the few states which has recently legislated for the payment of salaries to musicians through its intermettants du spectacle scheme, at least partially in recognition of the huge tourist revenues that semiprofessional musicians bring, particularly to festnoz festivities in Brittany. In practice, the extensive paperwork for festival organisers and the

difficulty local musicians have in finding enough engagements to qualify for the scheme make it difficult for payments to be made on a widespread basis (Wilkinson 1999). In Liverpool, Sara Cohen points out (Cohen 1997), the city council mostly seems to be concerned with the fact that successful musicians are not putting enough money back into the city. In most cases, it would seem, there is virtually no recognition on the part of tourism development boards that a marketable musical profile or image relies on a complex and fragile world of music-making. A steady supply of musicians to pubs and bars in tourist areas relies heavily on “informal” economic activity and patterns of transmission (for example, through family and friends), as well as time made available by unemployment or underemployment. It is, as a consequence, largely invisible to nonmusicians in the world of policy making.

MODERATOR

JIE ZHANG STUDY: SCHOOL OF GEOGRAPHY AND OCEAN SCIENCE UNIVERSTIY: NANJING UNIVERSITY

REFERENCES+ BIBLIOGRAPHY Jinde Jiang. (2020) The role of natural soundscape in nature-based tourism experience: an extension of the stimulus–organism–response model. Current Issues in Tourism 0:0, pages 1-20. Sandra Maria Correia Loureiro, Nikolaos Stylos, Victoria Bellou. (2021) Destination atmospheric cues as key influencers of tourists’ word-of-mouth communication: tourist visitation at two Mediterranean capital cities. Tourism Recreation Research 46:1, pages 85-108. Shih-Hao Wu, Stephen Chi-Tsun Huang, Ching-Yi Daphne Tsai, Chao-Lin Sung. (2020) As loyal as migratory birds: analyzing event revisit intention with dramaturgy and environmental psychology theories. Asia Pacific Journal of Tourism Research 25:8, pages 841-857. Stokes, Martin. “Music, Travel and Tourism: An Afterword.” The World of Music, vol. 41, no. 3, 1999, pp. 141–155. JSTOR, www.jstor.org/stable/41699295. Accessed 23 Feb. 2021.

MUSIC+ TRAVEL