1. Dynamics of the local music festival promotion and global music industry in 1990s-2010s Finland
Maija Kontukoski, University of Tampere

2. Background
Many Finnish music festivals have their background on voluntary work and (live music) association activity  today there are more company-based festivals that are organized by music industry professionals
The festival promoters have to deal with local and global competition: although the backgrounds are different, the challenges are the same:
There are only few bands touring;
Artist fees and production costs are rising;
Regulation is becoming tighter etc.
Ancillary service sector has expand  effects on promoter’s work
Brennan & Webster (2011): “Live music industry is the professionalised network that exists to stage a certain level of live music events.”  In Finnish case: what kind of network, and promoters’ role in it?
Why 1990s-2010s?  the era of digitalization of music and the rise of commercial viewpoints/ideology

3. Research questions Main question is:
In what ways the festival organization has professionalised in Finland, and what has caused the changes?
Two viewpoints:
Promoter's views about the practices and the values behind it
Influence of the structural change of the music industry and the local regulation policies
Questions: 
How and in what kind of live music network the festival promoter produces a music event/festival?
How the promoter understands the live music experience that she or he is providing to the audience?
How the local festival activity interacts with the structures and production cultures of local and global live music industry?
How the structural change of the music industry and the regulation by the authorities influences to local music festival culture?

4. Methodology Qualitative research methods Case studies:
Five music festivals in Finland
Research materials:
In-depth interviews
Legislation concerning live music events
Policy papers, strategies of local authorities
Music industry statistics
Participatory observation (?)
Public discussions (MARS panels and keynotes?)
Theoretical framework:
Cultural musicology, popular music studies
Production culture of the live music industry in the case of music festival promotion (Negus)

6. Traditional headliner festival by local live music association, Seinäjoki live music association .
Traditional ”imago” festival owned by local live music association,
Joensuu’s pop musicians association.
”New” city festival by local company, Flow Festival ltd.
Touring festival by international companies, Kilimanjaro Live ltd &
K2 Agency ltd.
Headliner festival by international company, Live Nation Finland ltd.