1. NewcastleMusicandCultureFestival

3. Cultural experience

4. Education experience

5. Inviting schools from the hunter

6. The age range is from 12-20 for workshops

8. Art

9. Workshops

10. Performances

11. Competitions

14. It’s important to discover and encourage musical talents at a young age

15. Our original and unconventional approach gets kids involved who may not usually be interested in music

17. 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.

19. Aesthetic Enjoyment

20. Communication

21. Emotional expression

22. Enforcing Conformity to Social Norms

25. Held on last night of festival

26. Free entry

27. Drug and Alcohol free

28. Range in performers; local bands, youth bands from workshops, Indigenous acts, popular Australian bands…

30. All bands from different genres of music

31. Bands are a mixture of male/female acts to encourage both genders in pursuit of music

32. 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

33. Bands volunteer to be part of the festival

35. Short Stack (Rock)

36. The Speakers (Indie)

37. Bye ByeBirdy (Punk/Rock)

38. Mojo Juju and the Snake Oil Merchants (Cabaret/Punk)

39. Elgen and Jonny Utah (Hip Hop)

40. Sarah Sykes (Folk/Acoustic)

41. Conservatorium Orchestra

43. John Butler Trio

44. Garbage

45. Angus and Julia Stone

46. Ash Grunwald

47. Lisa Mitchell

52. 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

53. 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

54. 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)

55. References Kylan: 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), 71-83 Housewright, 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. RetrievedApril18, 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 PavoFilakovic. “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.