“Music interaction refers to different ways human interact with technology to produce, enjoy, and distribute music. The most common form of interaction is surely listening” (Liikkanen, 2014)
Here’s where we explore not just listening to music, but in fact experiencing it live. As per the research conducted by Felicia Rodica Baltes and Andrei C. Miu ,the impact on individuals varies in sympathy, visual symbolism, and mind-set stemming from enthusiastic reactions to music amid a live music performance (Baltes and Miu, 2014). Therefore, situations in which individuals come together to tune in to music offer significant chances to contemplate the mental underpinnings of enthusiastic reactions to music (Zentner and Eerola, 2010). Emotional reactions to music include the interactions, so to speak of various components identified with music, audience, and circumstance. For example, people vary in their ability to comprehend and react to the emotion that they sense in their surroundings . Any tangible representation found exhibiting such emotions, gives fans a boost. Here’s explaining why some prefer dancing, while the others may choose to incite a most pit (Baltes and Miu, 2014). Further, such steady individual contrasts such as qualities may collaborate with more transient mental attributes, for example, the mind-set of a fan and relevant highlights of being closer to fans who share the same musical interests in impacting enthusiastic reactivity to music (Scherer and Coutinho, 2013).
Music festivals are in fact a key segment of music tourism (Haslam, 2009), and have been around for a long time. A vast pool of historians likes to believe that they go back to Ancient Egypt in 4500 BC, comprising of religious services and political fests with music and moving (Mintel, 2013). Old Greece facilitated its initially known music celebration, the Pythian Games, amid the 6th century BC as a forerunner to the Olympic Games, and in addition, holding rivalries for music and verse. In more current melodic history, the Monterey Pop Festival in the late spring of 1967 is viewed as a standout amongst the most imperative points of interest for music celebrations (Campbell, 2011). Happening in June amid the "Summer of Love", this famous crossroads in music history formed an age and affected incalculable future craftsmen. It was the turning out gathering for stars like Jimi Hendrix, Janis Joplin, and Otis Redding. Well, a couple of years after this , presumably the most renowned music gathering ever was organised: Woodstock in 1969 which enticed a horde of more than 400,000 individuals to join the movement by whatever methods or means available to a residential community in New York for the celebration of music.
The music festival sector has since become a sizeable industry and is one of only a handful couple of sectors to have fared well in the financial downturn. Around the world, there are in excess of 800 music festivals of different kinds in 57 nations (Schwartz, 2013). The industry is for the most part comprised of autonomous administrators and business visionaries, however greater umbrella groups like Live Nation, Music Festivals and the Festival Republic are at the forefront.
As for the up and coming artists, within the live music sector, music producers and creators are often positioned as entertainers and they may receive 'guarantees' from venues as well as a certain percentage of show ticket sales (Meier, 2016)
These different sectors require different arrangements of aptitudes altogether. While at the same time extraordinary classifications of music include changing divisions of work over these zones, numerous music creators fill in as recording specialists/artists, singer – songwriters and entertainers. Additionally, this more extensive business model and the copyright framework at its establishment enforces its impact on ‘do-it-yourself’ (DIY) approach to encourage music producers who endeavor to work outside the formal record label framework (Meier, 2016).