Title: Festivalernas Intåg ? Korröfestivalen- en bordunstämmas resa genom festivaliseringenThe Korrö festival- The establishment of a Swedish Folk Music Festival.This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the ?Korrö bordunstämma? to build instruments and play folk music.

Title: Festivalernas Intåg ? Korröfestivalen- en bordunstämmas resa genom festivaliseringenThe Korrö festival- The establishment of a Swedish Folk Music Festival.This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the ?Korrö bordunstämma? to build instruments and play folk music.

Title: Festivalernas Intåg ? Korröfestivalen- en bordunstämmas resa genom festivaliseringenThe Korrö festival- The establishment of a Swedish Folk Music Festival.This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the ?Korrö bordunstämma? to build instruments and play folk music.

This essay will examine in which way festival tourism can affect the physical location of a festival and to operationalize this we implemented a case study of the music festival Storsjöyran. Storsjöyran is a Swedish music festival held annually in the city of Östersund and since the festival, with the accompanying festival week, attract up to 300 000 visitors annually, we wanted to see what impact the festival contributed to from a development perspective of the destination. The method for gathering data has consisted of both qualitative and quantitative approaches and the data was collected via interviews and questionnaires. We also presented various theories about festival tourism and destination development, as well as previous research on urban festivals. The conclusion is that Storsjöyran contributes to a variety of factors which can help Östersund to a destination development and increased tourism.

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.

This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called ?The Folk Music Vogue?, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians.

This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called ?The Folk Music Vogue?, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians.

This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called ?The Folk Music Vogue?, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians.

Purpose: The purpose with this study is to clarify what importance a co-occurrence event can have on a smaller town, and also what positive and negative consequences it can have on the town seen from a social, economic and political aspect. I will also look at what magnitude the festival have on the local commercial and industrial life and how it affects those who live there. I will also determent how the moving of the festival might come and affect the local businesses, the local population and the community it-self.Method: I will thorough-out this study work with qualitative research methodology. I will there-for process the empirical data that will be collected and used for this study from a qualitative research methodology point of view. I will likewise go through with two deep-going interviews with people well familiar with the subject to increase and strengthen the validity of my study.

In this paper my aim is to understand the trance movement from within as a collective phenomenon. I went to Turkey with my boyfriend David on a trance gathering, a festival called A Total Solar Eclipse Festival. There I did participant observations and interviews.Can Collins theory about interaction ritual be useful to raise the understanding? And is it fruitful to apply the term collective identity?The collective identity is build up by the festival as interaction ritual. It generates solidarity, emotional energy and a sense of belonging.In this paper I discuss different categories and symbols that the collective identity contains of.

In this work I have examined how two violin students, who are used to the classical music tradition, think when they learn to play Swedish folk music, with focus on rhythm and beating the time with their feet. One of the students is studying on her first year to be a classical violin teacher and the other student is studying on her third year to be a classical musician, both are studying at Malmö Academy of Music. I had three lessons, one hour each, with these two students where I taught them some basics in how to play Swedish folk music. After the last lesson I interviewed the two students. I have done interviews with two teachers at Malmö Academy of Music; Wieslawa Szymczynska and Mats Edén.

I denna uppsats underso?ks habitus pa?verkan pa? vilken slags festival ma?nniskor va?ljer att beso?ka och varfo?r. Med dagens stora utbud av festivaler och det nya festivallandskapet som har va?xt fram de senaste a?ren finns det na?got fo?r alla som a?r intresserade. Syftet a?r att med hja?lp av kvalitativa intervjuer fo?rso?ka definiera vad det a?r som go?r en festival intressant fo?r vissa och helt ointressant fo?r andra och hur detta kan kopplas samman med Bourdieus teori om habitus.

This study examines the cultural factors which necessitated the establishment of The Music Archives of Småland in 1991 in the city of Växjö. I wanted to know the importance of the local music tradition and the role of those people who worked to create an institution such as this. In order to do this I interviewed the chief collector of early folk music, Magnus Gustafsson, and made use of literary sources to devise questions and evaluate the results of the exercise. In this study I have made use of a model of a musical culture in a society, created by Lundberg and Ternhag, based on the theory of cultural fields by Pierre Bourdieu. According to this model, the stature of a musical culture gives different forms of musical expression certain roles, but these roles can be remodelled, reflecting perhaps political or ideological influence.

The aim of this research is to examine the Göteborg International Film Festival Fund (GIFFF, 1998?2011) as a part of the festival's overall operations, to provide answers to questions about if/how the Fund can be understood as an expression of the festival's fundamental values, and how the Fund can be recognized within the festival's strategic development. The GIFFF is also discussed in relation to contemporary academic studies that interpret Western film funds for the developing countries ? such as Hubert Bals Fund and Fond Sud Cinéma ? as an expression of Eurocentrism.The investigation is based on the contemporary film festival research, previous academic studies on Göteborg International Film Festival, the festival?s printed material ? such as programs and press releases ? as well as interviews with the former festival director Gunnar Bergdahl, who initiated the Fund, and festival editor Ulf Sigvardson, who ran the Fund during its final years of existence.The conclusions are: The Fund's objectives ? such as to support filmmakers and film schools in the developing countries, and also to screen their films at the festival ? can be seen as a broader interpretation of the vision that was determined by the festival founders, that the festival should be a platform for independent filmmaking and also help screen the films that otherwise would not reach the Swedish audience. Also, the Fund was a significant part of the festival's expansion strategies during the 1990s.

The aim of this paper is to illuminate and discuss the political and ideological aspects of Early Medieval Nordic music. Due to shortage of sources, this issue has been overlooked until now. Did Early Medieval Nordic music meet the requirements for political and ideological use? In what ways could music potentially be used politically and ideologically? Was music used as a political and ideological tool? This is examined by a contextual analysis combining music history and historical archaeology. The survey consists of a background account, focusing on the potential of music and some requests for political use, and three case studies, where musical reflections of societal tensions is investigated in folk music lyrics, Icelandic sagas and church art.