ABSTRACT
This book focuses on extended interpretation of Torino's politics of participation because the context examined exemplifies a coinciding politics with a reverse trajectory: festivals that exclusively utilize line-up based business models have become gradually overshadowed by an increasing number of boutique music festivals. It favours an increased emphasis on the immersive environment, playfulness and varying types of direct audience participation. Existing research on contemporary pop and rock music festivals is not substantial in quantity, though it's growing, in line with the popularization of music festivals more generally. As professional and degree qualifications in Event Management and Music and Business Management have also become more common, there is parallel growth in a strand of festivals research rooted in the tourism and management disciplines, much of which focuses on economic impact, the optimization of systems and practices, and the motivations of stakeholders and attendees. Naturally the methodologies employed in these investigations often rely upon quantifications of socio-economic and survey response data.
