What kinds of live music are available to the citizens of the cities of Groningen and Utrecht? That is the main question in two research projects, of which the databases have been made accessible in the Dataverse City Musicscapes (Lelieveldt & Bisschop Boele, 2018). At first sight databases of statistical research offices provide researchers with clear data about the number of venues and concerts and the participation of audiences (Gemeente Utrecht 2017, Van den Broek 2014). When looking closer we find that in these statistics only the regular (and mainly publicly funded) music venues are included. The authors’ projects show that a substantial part (53–60%) of live music concerts take place on non-regular locations, such as cafés, restaurants, clubs, churches, shopping malls and in open air. They developed a research tool to be able to draw a map of the musical landscape of a city (Musicscape). In this article we will reflect on the goals, research methods, datasets and some results from analysing our datasets. We hope this contributes to the discussion with scholars, music producers and policy makers about the added value of the concept of Musicscapes for the understanding of cultural participation, music performing practices and cultural policies.
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Worldwide, plastic cups are used for serving drinks. Some typical examples of large-scale consumption are large concerts and festivals. As a part of the BIOCAS project, which focusses on the valorization of biomass through various routes, a PHA biobased festival cup was developed and created to reduce the impact of current fossil plastics. The role of VHL was to assess the environmental impact. The aim of the report is to inform the BIOCAS-partners about the use of plastic cups, and address the environmental impact in comparison with other types of biobased plastic cups and fossil-based cups. This report can serve as a basis for making choices within all different types of (plastic/biobased) cups. Besides, it can be used as a public communication tool about the environmental impact of different types of (plastic/biobased) cup applications.
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The Johan Cruijff ArenA (JC ArenA) is a big events location in Amsterdam, where national and international football matches, concerts and music festivals take place for up to 68,000 visitors. The JC ArenA is already one of the most sustainable, multi-functional stadia in the world and is realizing even more inspiring smart energy solutions for the venue, it’s visitors and neighbourhood. The JC ArenA presents a complex testbed for innovative energy services, with a consumption of electricity comparable to a district of 2700 households. Thanks to the 1 MWp solar installation on the roof of the venue, the JC ArenA already produces around 8% of the electricity it needs, the rest is by certified regional wind energy.Within the Seev4-City project the JC ArenA has invested in a 3 MW/2.8 MWh battery energy storage system, 14 EV charging stations and one V2G charging unit. The plan was to construct the 2.8 MWh battery with 148 2nd life electric car batteries, but at the moment of realisation there were not enough 2nd life EV batteries available, so 40% is 2nd life. The JC ArenA experienced compatibility issues installing a mix of new and second-life batteries. Balancing the second-life batteries with the new batteries proved far more difficult than expected because an older battery is acting different compared to new batteries.The EV-based battery energy storage system is unique in that it combines for the first time several applications and services in parallel. Main use is for grid services like Frequency Containment Reserve, along with peak shaving, back-up services, V2G support and optimization of PV integration. By integrating the solar panels, the energy storage system and the (bi-directional) EV chargers electric vehicles can power events and be charged with clean energy through the JC ArenA’s Energy Services. These and other experiences and results can serve as a development model for other stadiums worldwide and for use of 2nd life EV batteries.The results of the Seev4-City project are also given in three Key Performance Indicators (KPI): reduction of CO2-emission, increase of energy autonomy and reduction in peak demand. The results for the JC ArenA are summarised in the table below. The year 2017 is taken as reference, as most data is available for this year. The CO2 reductions are far above target thanks to the use of the battery energy storage system for FCR services, as this saves on the use of fossil energy by fossil power plants. Some smaller savings are by replacement of ICEby EV. Energy autonomy is increased by better spreading of the PV generated, over 6 instead of 4 of the 10 transformers of the JC ArenA, so less PV is going to the public grid. A peak reduction of 0.3 MW (10%) is possible by optimal use of the battery energy storage system during the main events with the highest electricity demand.
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De wereld van de klassieke muziek verandert snel. We worden geconfronteerd met spannende uitdagingen en vragen, zoals de ontwikkeling van innovatieve concertsettings of het creëren van nieuwe publieksbetrokkenheid. De onderzoeksactiviteiten, welke bestaat uit desk research, een vragenlijst en gesprekken met stakeholders, maken deel uit van een onderzoeksnetwerk onder leiding van de Performer and Audience Research Centre (SPARC) van de University of Sheffield en het Maastricht Centre for the Innovation in Classical Music (MCICM). Met deze onderzoeksactiviteiten in Noord-Nederland en die vergelijkbaar in andere regio's van het Verenigd Koninkrijk en Oostenrijk hoopt het netwerk gesprek op gang te brengen over wat klassieke muziek momenteel omvat en wat het zou kunnen zijn in de diverse lokale contexten.
Tango is among the most widespread world music genres nowadays. However, only partial information about the elements and techniques of composing, arranging and performing tango has been documented and made available so far. This research project aims at investigating tango’s main aspects in the oeuvre of relevant tango musicians, promoting its creative practice and expanding its artistic community. By making the implicit knowledge in scores and recordings explicit and ready for creative use by the greater artistic community, tango can be preserved, on one side; and musicians can experiment and reach new artistic horizons, securing its continuation and development as vivid, contemporary music, on the other. The project has two research questions: 1. What are the main features and techniques of tango music composition, arrangement and performance? 2. How can musicians nowadays integrate these features and techniques into their practice to deepen their understanding and enhance their artistic creations and performances? This research uses a mixed method design, including the analysis of scores and recordings, literature review, interviews, observational studies and experimentation. It expands the artistic community on the topic and bridges two top-notch institutions devoted to tango learning: Codarts and UNSAM (Argentina). The research also endeavours improvements in the Codarts curriculum as it complements and expands its educational programme by providing students with research tools to enhance their creative practice. Theoretical and artistic outcomes will be documented and disseminated in concerts, concert-lectures, papers, articles and a tailor-made website containing compositions, arrangements, videos, text, musical examples and annotated scores, so as to record: a) the musical materials and techniques found in the analysed scores and recordings, together with their applications in practice and performance; b) the artistic processes, reflections and production of the participants; c) information on how to create, arrange and perform tangos.
