<p>Lately, more and more music festivals have emerged in Sweden. People’s desire and need to visit these events only seems to increase. Cultural tourism and music tourism has developed into a significant and important part of the experience industry and it employs more and more people within the tourism industry. The purpose of this paper is to investigate which effects this can have on the local community. Focus is held on the touristic and economic impact on the nearby municipality and region.</p><p>The paper is based on a case study on Sweden Rock Festival, which is one of Swedens largest music festivals with a heavy-metal direction. Sweden Rock Festival is located in the south of Sweden in a small municipality called Sölvesborg. Sölvesborg has about 17 000 inhabitants and each year some 33 200 festival visitors decend on the area to attend the festival. To investigate the touristic and economic impact that Sweden Rock Festival has on Sölvesborg, interviews have been conducted. These interviews have been done by either telephone or by e-mail with people from the municipality, the Sweden Rock Festival organization and people with connections to the local business life. Also, two experienced festival attenders have been interviewed to investigate the visitors use of the area’s supply of tourism attractions besides Sweden Rock Festival.</p><p>The study has shown that Sweden Rock Festival has contributed to putting Sölvesborg on the touristic map and increased the awareness and knowledge about the area. New camping sites and restaurants have opened and many companies benefits on the vistitors that Sweden Rock Festival attracts. The tourism- and travel industry on the destination has increased its sales and more job opportunities have been created. As a conclusion, the study shows that it can be viewed as a good idea to use music festivals as a means to increase a destinations touristic and economic value.</p> / <p>Det har på senare tid uppkommit fler och fler musikfestivaler i Sverige. Människors önskan och vilja att besöka dessa evenemang verkar bara tillta. Kultur och musikturismen har utvecklats till att bli en betydande del av upplevelseindustrin som sysselsätter allt fler människor inom turismbranschen. Denna uppsats syftar till att ta reda på vilka effekter detta kan få för lokalsamhället. Fokus ligger på den turistiska och ekonomiska påverkan för den närliggande kommunen och regionen.Uppsatsen baseras på en fallstudie av Sweden Rock Festival som är en av Sveriges största årligen återkommande musikevenemang och inriktar sig på musik av det alternativa slaget, främst hårdrock och metal. Anledningen till att valet av undersökningsobjekt föll på just Sweden Rock Festival är att det efter sökningar på Internet och i litteratur verkade finnas betydligt mindre forskning kring den i jämförelse med andra svenska musikfestivaler, exempelvis Hultsfredsfestivalen. Detta ansågs som något märkligt då Sweden Rock Festival drar mest besökare av alla de svenska festivalerna och har ökat i besökarantal under flera år i rad och fortsätter att växa i popularitet.Sweden Rock Festival är lokaliserad till Sölvesborgs kommun i de sydvästra delarna av Blekinge i södra Sverige. Festivalområdet ligger i en liten by med namnet Norje dit drygt 33 000 besökare reser varje år för att lyssna till musik och leva festivalliv under ett par dagar. Sölvesborgs kommun har knappt 17 000 invånare, så när invånarantalet under en vecka i juni varje år mer än fördubblas är det ingen långsökt tanke att detta medför en viss påverkan på samhället.För att ta reda på hur Sölvesborgs kommun har påverkats av Sweden Rock Festival vad gäller turism och ekonomisk utveckling har ett antal intervjuer genomförts dels via telefon, men också med hjälp av e-mail. Personerna som har intervjuats är verksamma inom Sölvesborgs kommun, inom Sweden Rock Festivals organisation eller har kopplingar till företagandet på orten. För att undersöka i vilken utsträckning som Sölvesborgs turismutbud utöver attraktionen Sweden Rock Festival utnyttjandes, har två rutinerade Sweden Rock-besökare intervjuats.Undersökningen har visat att Sölvesborg har satts på kartan på ett sätt som aldrig hade hänt om inte Sweden Rock Festival hade funnits. Festivalen har ökat medvetenheten och kunskapen om Sölvesborgs kommun bland människor runt om i landet. Till följd av Sweden Rock Festival har det öppnats campingar och restauranger och företag i många olika branscher som gynnas av de besökare som festivalen attraherar. Turism- och reseindustrin i Sölvesborgs kommun har ökat i omsättning och fler arbetstillfällen har skapats, vilket kan öka inflyttning till orten samt minska utflyttning. Sammanfattningsvis visar studien att det ses som en god idé att använda musikfestivaler för att öka en destinations turistiska och ekonomiska värde.</p>

Umeå is a city that is known for its music scene. Credible bands and artists have consequently sprung out and put the city on the map for as long the authors of this paper can remember. The city has a specific image and this study seeks to shine a light on how this came to be. Has there been a conscious marketing strategy in order to gain the reputation that Umeå has, or is the city’s music scene so prominent that it speaks for itself? Data for the study were collected through conducting qualitative interviews with the producers of the two music festivals Umeå Open and Umeå International Jazz Festival. The results show that cultural visions and marketing are constantly interacting, but to the authors’ knowledge, no conscious decisions have previously been taken to market Umeå as a city of music. Still, with current acts like Deportees, David Sandström and Frida Hyvönen just to mention a few, the image of Umeå is more justified than ever.

The primary objective of this study was to determine the communication efficacy at arts festivals with specific reference to the Klein Karoo Nasionale Kunstefees (KKNK). This goal was achieved by firstly discussing the concept of communication. Secondly, a literature study was conducted in order to examine the links between communication and events. Thirdly, the results of the empirical research were discussed, and finally conclusions were drawn from the research and recommendations were made with regard to the communication efficacy of events, as well as for further research. From the literature, communication between the event organisers and the local community was defined. It was noted that communication plays an integral part in the success of an event. The host community plays an integral part in events as role players. By establishing and implementing an effective communication strategy to and from the organisers, the KKNK will harvest the fruits of a successful cultural event. Participation, decision making and informing the stakeholders using different types of media was the means by which the KKNK organisers communicated with the host community. Positive and negative impacts were measured in a questionnaire. The questionnaire that sought to measure whether there were significant differences between the two host communities of Oudtshoorn, and whether there were any differences in the results of the communication strategy of the organisers when comparing the opinions of the white and of the coloured communities. The questionnaires were distributed among the community members of Oudtshoorn, using on a stratified sampling method, and by using a random sampling method. A total of 258 questionnaires were completed, 110 from the white community and 148 from the coloured community. Means and standards deviations were determined following the affected sizes to explore the differences between the importance of participation and communication in the two communities, based on the dimensions of the various factors as determined in the factor analysis. It became clear that there is a small effect (0.2-0.5) on the opinions of the two communities regarding their being informed, community participation and the communication from KKNK to the Oudtshoorn community in general. Decision-making and participation opinions resulted in medium effects. It is the major significance of these effect sizes that the white and coloured communities do not believe they have equal decision making opportunities and participation. The chi-square test of significance revealed a small significance (0.1 - 0.3) in the following areas: overall communication, information received and sought for through different types of media and importance of the KKNK to Oudtshoorn. A medium significance (0.3 - 0.5) was measured, and recommendations were made that programs meeting the needs of host communities, decision making and having the community become active in festival programs should be initiated. This study contributes to the limited amount of literature available on the communication efficacy of events to their host communities. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2011.

Literature indicates that events like a wine festival have many role players involved that need each other for them to be successful. The more role players there are, the more complex the event becomes, as in the case of the Wacky Wine Festival which is spread over 48 wine farms. The most important role players are the visitors and wine farmers that represent the demand and supply side of the festival. Local enterprises, wine farmers and the festival organisers put a lot of effort into the event, such as their time, money and skills. It is essential for these role players to know that they will get a return on their investment and for the host community to know that the festival will make a contribution to their local economy. Furthermore, literature indicates that the festival can improve the economic position of the role players by targeting the high spending market through intensive marketing that focuses on this particular segment. Therefore, the purpose of this study was to determine the contribution of the Wacky Wine Festival to the local economy and to compile a profile of the heavy spender. To achieve the latter, a quantitative study was carried out by means of two surveys via questionnaires that were handed out to both the visitor and wine farmer. The data was then captured in Microsoft© Excel©. In Article 1 (Chapter 2) the sales multiplier effect and an analytical framework were used to determine the contribution of the festival to the host community. In Article 2 (Chapter 3) different tests and analyses were used to compile a profile of the heavy spender such as the K–means clustering, Chi–Squared, the Mann–Whitney non–parametric test and an ANOVA analysis. The results from Article 1 (Chapter 2) showed that the Wacky Wine Festival had an positive economic contribution of an estimated R29.9 million to the host community`s economy. From a demand and supply point of view, the visitors contributed R15.4 million and the wine farmers R6 million. From the results, it could be derived that the festival had low leakages in comparison with other festivals. iii The results from Article 2 (Chapter 3) indicated that the heavy and low spenders differ in terms of gender, language, age, occupation, number of people paying for in travelling group, residence and number of days spent at the festival. It was clear from the results that if the festival organisers and wine farmers focus marketing strategies on the high spending segment, this can lead to a R10 million increase in the Wacky Wine Festival’s revenue, thus improving the economic contribution of the event to the local economy of Robertson. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

The primary objective of this study was to determine the communication efficacy at arts festivals with specific reference to the Klein Karoo Nasionale Kunstefees (KKNK). This goal was achieved by firstly discussing the concept of communication. Secondly, a literature study was conducted in order to examine the links between communication and events. Thirdly, the results of the empirical research were discussed, and finally conclusions were drawn from the research and recommendations were made with regard to the communication efficacy of events, as well as for further research. From the literature, communication between the event organisers and the local community was defined. It was noted that communication plays an integral part in the success of an event. The host community plays an integral part in events as role players. By establishing and implementing an effective communication strategy to and from the organisers, the KKNK will harvest the fruits of a successful cultural event. Participation, decision making and informing the stakeholders using different types of media was the means by which the KKNK organisers communicated with the host community. Positive and negative impacts were measured in a questionnaire. The questionnaire that sought to measure whether there were significant differences between the two host communities of Oudtshoorn, and whether there were any differences in the results of the communication strategy of the organisers when comparing the opinions of the white and of the coloured communities. The questionnaires were distributed among the community members of Oudtshoorn, using on a stratified sampling method, and by using a random sampling method. A total of 258 questionnaires were completed, 110 from the white community and 148 from the coloured community. Means and standards deviations were determined following the affected sizes to explore the differences between the importance of participation and communication in the two communities, based on the dimensions of the various factors as determined in the factor analysis. It became clear that there is a small effect (0.2-0.5) on the opinions of the two communities regarding their being informed, community participation and the communication from KKNK to the Oudtshoorn community in general. Decision-making and participation opinions resulted in medium effects. It is the major significance of these effect sizes that the white and coloured communities do not believe they have equal decision making opportunities and participation. The chi-square test of significance revealed a small significance (0.1 - 0.3) in the following areas: overall communication, information received and sought for through different types of media and importance of the KKNK to Oudtshoorn. A medium significance (0.3 - 0.5) was measured, and recommendations were made that programs meeting the needs of host communities, decision making and having the community become active in festival programs should be initiated. This study contributes to the limited amount of literature available on the communication efficacy of events to their host communities. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2011.

Literature indicates that events like a wine festival have many role players involved that need each other for them to be successful. The more role players there are, the more complex the event becomes, as in the case of the Wacky Wine Festival which is spread over 48 wine farms. The most important role players are the visitors and wine farmers that represent the demand and supply side of the festival. Local enterprises, wine farmers and the festival organisers put a lot of effort into the event, such as their time, money and skills. It is essential for these role players to know that they will get a return on their investment and for the host community to know that the festival will make a contribution to their local economy. Furthermore, literature indicates that the festival can improve the economic position of the role players by targeting the high spending market through intensive marketing that focuses on this particular segment. Therefore, the purpose of this study was to determine the contribution of the Wacky Wine Festival to the local economy and to compile a profile of the heavy spender. To achieve the latter, a quantitative study was carried out by means of two surveys via questionnaires that were handed out to both the visitor and wine farmer. The data was then captured in Microsoft© Excel©. In Article 1 (Chapter 2) the sales multiplier effect and an analytical framework were used to determine the contribution of the festival to the host community. In Article 2 (Chapter 3) different tests and analyses were used to compile a profile of the heavy spender such as the K–means clustering, Chi–Squared, the Mann–Whitney non–parametric test and an ANOVA analysis. The results from Article 1 (Chapter 2) showed that the Wacky Wine Festival had an positive economic contribution of an estimated R29.9 million to the host community`s economy. From a demand and supply point of view, the visitors contributed R15.4 million and the wine farmers R6 million. From the results, it could be derived that the festival had low leakages in comparison with other festivals. iii The results from Article 2 (Chapter 3) indicated that the heavy and low spenders differ in terms of gender, language, age, occupation, number of people paying for in travelling group, residence and number of days spent at the festival. It was clear from the results that if the festival organisers and wine farmers focus marketing strategies on the high spending segment, this can lead to a R10 million increase in the Wacky Wine Festival’s revenue, thus improving the economic contribution of the event to the local economy of Robertson. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

Lately, more and more music festivals have emerged in Sweden. People’s desire and need to visit these events only seems to increase. Cultural tourism and music tourism has developed into a significant and important part of the experience industry and it employs more and more people within the tourism industry. The purpose of this paper is to investigate which effects this can have on the local community. Focus is held on the touristic and economic impact on the nearby municipality and region. The paper is based on a case study on Sweden Rock Festival, which is one of Swedens largest music festivals with a heavy-metal direction. Sweden Rock Festival is located in the south of Sweden in a small municipality called Sölvesborg. Sölvesborg has about 17 000 inhabitants and each year some 33 200 festival visitors decend on the area to attend the festival. To investigate the touristic and economic impact that Sweden Rock Festival has on Sölvesborg, interviews have been conducted. These interviews have been done by either telephone or by e-mail with people from the municipality, the Sweden Rock Festival organization and people with connections to the local business life. Also, two experienced festival attenders have been interviewed to investigate the visitors use of the area’s supply of tourism attractions besides Sweden Rock Festival. The study has shown that Sweden Rock Festival has contributed to putting Sölvesborg on the touristic map and increased the awareness and knowledge about the area. New camping sites and restaurants have opened and many companies benefits on the vistitors that Sweden Rock Festival attracts. The tourism- and travel industry on the destination has increased its sales and more job opportunities have been created. As a conclusion, the study shows that it can be viewed as a good idea to use music festivals as a means to increase a destinations touristic and economic value. / Det har på senare tid uppkommit fler och fler musikfestivaler i Sverige. Människors önskan och vilja att besöka dessa evenemang verkar bara tillta. Kultur och musikturismen har utvecklats till att bli en betydande del av upplevelseindustrin som sysselsätter allt fler människor inom turismbranschen. Denna uppsats syftar till att ta reda på vilka effekter detta kan få för lokalsamhället. Fokus ligger på den turistiska och ekonomiska påverkan för den närliggande kommunen och regionen.Uppsatsen baseras på en fallstudie av Sweden Rock Festival som är en av Sveriges största årligen återkommande musikevenemang och inriktar sig på musik av det alternativa slaget, främst hårdrock och metal. Anledningen till att valet av undersökningsobjekt föll på just Sweden Rock Festival är att det efter sökningar på Internet och i litteratur verkade finnas betydligt mindre forskning kring den i jämförelse med andra svenska musikfestivaler, exempelvis Hultsfredsfestivalen. Detta ansågs som något märkligt då Sweden Rock Festival drar mest besökare av alla de svenska festivalerna och har ökat i besökarantal under flera år i rad och fortsätter att växa i popularitet.Sweden Rock Festival är lokaliserad till Sölvesborgs kommun i de sydvästra delarna av Blekinge i södra Sverige. Festivalområdet ligger i en liten by med namnet Norje dit drygt 33 000 besökare reser varje år för att lyssna till musik och leva festivalliv under ett par dagar. Sölvesborgs kommun har knappt 17 000 invånare, så när invånarantalet under en vecka i juni varje år mer än fördubblas är det ingen långsökt tanke att detta medför en viss påverkan på samhället.För att ta reda på hur Sölvesborgs kommun har påverkats av Sweden Rock Festival vad gäller turism och ekonomisk utveckling har ett antal intervjuer genomförts dels via telefon, men också med hjälp av e-mail. Personerna som har intervjuats är verksamma inom Sölvesborgs kommun, inom Sweden Rock Festivals organisation eller har kopplingar till företagandet på orten. För att undersöka i vilken utsträckning som Sölvesborgs turismutbud utöver attraktionen Sweden Rock Festival utnyttjandes, har två rutinerade Sweden Rock-besökare intervjuats.Undersökningen har visat att Sölvesborg har satts på kartan på ett sätt som aldrig hade hänt om inte Sweden Rock Festival hade funnits. Festivalen har ökat medvetenheten och kunskapen om Sölvesborgs kommun bland människor runt om i landet. Till följd av Sweden Rock Festival har det öppnats campingar och restauranger och företag i många olika branscher som gynnas av de besökare som festivalen attraherar. Turism- och reseindustrin i Sölvesborgs kommun har ökat i omsättning och fler arbetstillfällen har skapats, vilket kan öka inflyttning till orten samt minska utflyttning. Sammanfattningsvis visar studien att det ses som en god idé att använda musikfestivaler för att öka en destinations turistiska och ekonomiska värde.

The accurate measurement of the value of the arts to society is becoming increasingly important in developing countries, like South Africa, where the arts must compete with housing, health, education and the like for public funds. Motivation for the public funding of arts events, like the Standard Bank National Arts Festival in Grahamstown, is usually based on the economic impact, that is, the financial benefits to the region, of such events. The argument is problematic, however, because the primary recipients of such economic benefits are often middle to upper income groups who also attend more arts performances. Furthermore, the studies have not taken into account the positive externalities which, it is argued, are generated by the arts and are enjoyed by attenders and non attenders alike. This thesis argues that it is the social benefits which the arts provide, those external to the market, which should be the basis of public funding. In order to quantify these positive externalities, a willingness to pay (WTP) study was conducted in the Grahamstown region. It is generally, but erroneously, believed that the Festival does not benefit the poorer, largely black, Grahamstown East residents. The study found that, in addition to the economic value (R23 - 25 million a year), the non-market benefits which the festival provides are worth between R2.3 and R3 million a year and form a very important part of its value, particularly to low income groups. The study also found that there are methodological adjustments which can be made to WTP studies to successfully control for the many forms of bias it is prone to. By using a combination of closed and open ended and liable and non-liable questions, the motivation of respondents' answers to WTP questions was determined, making it possible to adjust for bias caused by, for example, "free rider" and "warm glow" responses. It is argued that by identifying and excluding such responses from WTP surveys, it is possible to reduce bias to an acceptable level.

Eventos especiais têm um papel importante dentro da administração e do marketing de lugares, mas para obter o máximo retorno de tais festividades, seja em termos econômicos ou sociais, é preciso gerenciá-las com o conhecimento de seus impactos. O presente trabalho replica, com algumas modificações, o estudo de Gursoy, Kim e Uysal (2004), adaptando para o cenário brasileiro a escala para medir os impactos causados na comunidade, por festas populares, de acordo com a opinião dos envolvidos. A pesquisa aqui descrita, realizada em quatro eventos distintos no Rio Grande do Sul, envolveu um total de 1093 respondentes e seus resultados permitiram validar a escala adaptada para o Brasil, ao mesmo tempo que foram identificados três tipos de impactos gerados pelas festas populares: os Benefícios Socioeconômicos, os Benefícios Socioculturais e os Custos Sociais. / Festivals and special events have an important role in the segments of marketing and management of locals. However, to achieve the maximal economical and social return from such events, it is necessary to manage them taking in consideration their impacts on society. This study is a replication, with some changes, about the study carried out by Gursoy, Kim and Uysal (2004), bringing into Brazilian reality the scale to measure the perceived impacts of special events on community, according to the stakeholders. The survey was realized in four different events in Rio Grande do Sul, with a total of 1093 interviewed people and the results allowed the validation of the adapted scale for Brazil. The study could also identify three groups of different impacts of festivals on communities: socialeconomical benefits, social-cultural benefits and social costs.

A investigação, de caráter qualitativo (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), teve por objetivo geral compreender as práticas músico-educativas engendradas nos Festivais de Coros do Rio Grande do Sul, que foram realizados durante o período 1963-1978, na cidade de Porto Alegre, capital do estado do Rio Grande do Sul. Como objetivos específicos a pesquisa buscou: 1) analisar a constituição e a organização dos Festivais de Coros; 2) examinar como eram mobilizados os atores sociais para os/dos Festivais de Coros, as estratégias de envolvimento utilizadas, as redes de cooperação e interdependência que permitiam a realização dos eventos e as tramas que envolveram os atores sociais naquele contexto específico; 3) interpretar a participação de coros, regentes e plateia e as exigências colocadas para os participantes dos Festivais; 4) analisar quais eram as concepções sobre cantar em coro, que aprendizagens e que formações musicais ocorreram nos/a partir da participação nos eventos e quais foram as contribuições dos Festivais de Coros. Como procedimento investigativo trabalhei a partir da história oral, com a qual pude combinar fontes escritas (artigos de jornais da época, programas musicais, cartas) com fontes orais (pré-entrevistas e entrevistas). Para a compreensão das redes estabelecidas pelos participantes dos Festivais de Coros, empreguei o conceito de configurações ou figurações de Norbert Elias (1997; 2008). Pelo conteúdo dos Festivais analisados, foram úteis as visões teóricas que focam o canto coral como movimento sociopolítico ou nacionalista (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Estudos sobre festivais de arte também ajudaram a iluminar o campo empírico (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Práticas músico-educativas foram se constituindo e sendo propaladas a partir da ação dos agentes participantes dos Festivais. A partir de uma comissão organizadora foi institucionalizada a Associação dos Festivais de Coros do Rio Grande do Sul, que passou a mobilizar atores internos (coros, regentes, imprensa e público) e externos (autoridades, governos, patrocinadores e apoiadores). Examinar o que era exigido e que dinâmica movia regentes, coros e público a participar dos Festivais de Coros, ajuda a compreender as aprendizagens geradas e impulsionadas pelo contexto. Os resultados da pesquisa mostram as formações musicais de cantores, regentes e público ocorridas a partir de concepções sobre cantar em coro e do habitus (ELIAS, 1997) gerado na e pela participação nos Festivais, além de outras contribuições impulsionadas por aqueles eventos. / This research, of qualitative frame (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), had as objective to understand the music-educational practices taken place in the Rio Grande do Sul Choir Festivals, held during the period 1963-1978 in the city of Porto Alegre, capital of the state of Rio Grande do Sul, Brazil. Specific objectives of this research were: 1) To analyze the constitution of the Choir Festivals; 2) To exam how social actors were mobilized for the/from the Choir Festivals, as well as the engagement strategies used in it, the cooperation networks and interdependence which allowed the events to take place and the wefts which involved social actors in that specific context; 3) To interpret the participation of choirs, conductors and public, as well as the demands requested to the participants of the Festivals; 4) To analyze which were the conceptions about choral singing, which apprenticeships and musical formations occurred in the/from the participation in the events, and which were the contributions left by the Choir Festivals. As a research procedure I worked with oral history, with which I could combine written resources (newspaper articles of that period, musical programs and letters) with oral resources (pre-interviews and interviews). To understand the networks established by the participants of the Choir Festivals I used the concept of configuration or figuration by Norbert Elias (1997; 2008). Through the content of the analyzed Festivals, it were useful the theoretical visions that focus choral singing as a sociopolitical or nationalistic movement (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Studies about art festivals also helped to throw light over the empirical field (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Musiceducational practices were constituted and propelled from the action of the participants agents of the Festivals. An organized committee was the start to institutionalize the Rio Grande do Sul Choir Association, which began to mobilize internal actors (choirs, conductor, press and public), and external actors (authorities, governments, sponsors and supporters). To examine what was requested and what dynamics moved conductors, choirs and public to participate in the Choir Festivals, helped to understand the apprenticeships generated and driven by the context. The results of the research show the music formation of singers, conductors and public generated from conceptions of choral singing and the habitus (ELIAS, 1997) generated in the/by the participation in the Festivals, as well as other contributions driven by those events.