斯里兰卡旅游中的器乐环境音乐和音乐娱乐

Chinthaka Prageeth Meddegoda
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引用次数: 0

摘要

本研究探讨了器乐如何被用作斯里兰卡选定的热门旅游景点的环境音乐。本研究的范围仅限于目前旅游业较为活跃的西部省份沿海地区。餐饮、快餐和各种餐馆和饮料的地方都有一定的环境音乐,这些音乐大多是有目的地选择来吸引和娱乐客人的。美食艺人对美食口味与器乐搭配的看法必然具有一定的共同特征。本研究的主要目的是探讨斯里兰卡美食艺人如何促进器乐来吸引和娱乐他们的客人,同时消费食物和其他景点。在大规模旅游业衰落的情况下,当地的旅游业仍然兴旺发达。娱乐的选择可能已经改变了。此外,许多在线的可能性是通过使用环境音乐创造的。在分析收集到的材料时,需要考虑所有这些当前的变化。这项短期研究旨在寻求以下问题的答案:如何评估游客需求?谁参与剧目、表演和编排的决策?如何控制质量输出?来自不同参与者(观众/音乐家/组织者)的哪种反馈可能导致纠正?主要的方法是访谈和调查。这些调查必须精心设计,必须包括正规和非正规音乐教育、同伴行为以及监管公司或机构的期望等基本要素。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Instrumental Ambient Music and Musical Entertainment in Sri Lankan Tourism
This research explores how instrumental music has been used as ambient music in selected popular tourist places in Sri Lanka. The domain of the study is confined within the coastal areas in Western Province where tourism is active at present. The places of catering, fast food, and various eateries and drinks have facilitated certain ambient music which is mostly chosen purposefully to attract and to entertain the guests. There must be a certain joint feature of opinions among food entertainers on matching food taste with instrumental music. The main purpose of this study is to explore how Sri Lankan food entertainers facilitate instrumental music to attract and to entertain their guests while consuming food and other attractions. Under the given circumstances of fading large scale tourist business, local business is still flourishing. The choice of entertainment might have been changed. Also, many online possibilities were created by using ambient music. All these current changes need to be considered while analysing collected material. This short-term research is seeking answers to the following questions: How are tourist demands assessed? Who is involved in decision-making about the repertoire, presentation, and arrangement? How is quality output controlled? Which kind of feedback from various participants (audience/ musicians/ organizers) may lead to corrections? The main method is interviewing and surveying. The surveys have to be carefully created and they have to include basic elements about formal and informal music education, peer behavior, and expectations of supervising companies or institutions.
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