• Bruno S. FreyEmail author
Part of the SpringerBriefs in Economics book series (BRIEFSECONOMICS)


Thousands of festivals take place every year, especially in the tourist season. The boom in music festivals poses a challenge to art economists because of the glaring contrast with the serious financial problems faced by theatres, opera houses, and orchestras with fixed venues. Festivals attract new groups of consumers. For tourists, attendance at festivals is a small proportion of total holiday expenditures, and demand people are not driven away by higher entry prices. Festivals benefit from the support of business which benefit from the media attention produced. They have lower production costs, offer more opportunities for artistic creativity, and are less restricted by regulations than are fixed venues. However, these advantages are unlikely to persist in the future.


Classical musical festivals Consumers Tourism Holidays Entry prices Price elasticity Media attention Creativity Fixed venues Production cost Union regulations Government regulations Popularization 

Related Literature

This chapter partly draws on

  1. Frey BS, Vautravers-Busenhart I (2003) Special exhibitions and festivals: culture’s booming path to glory. In: Frey BS (ed) Arts and economics. Springer, Heidelberg and New York, pp 67–94Google Scholar

Case studies of famous festivals are, for example

  1. Frey BS (1986) The Salzburg festival: an economic point of view. J Cult Econ 10(2):27–44CrossRefGoogle Scholar
  2. Galeotti G (1992) Riflettori sull’iposcenio: elementi per un’analisi economica del festival di Spoleto. In: Brosio G, Santagata W (eds) Rapporto sull’economia delle arti e dello spettacolo in Italia. Fondazione Agnelli, Torino, pp 125–147Google Scholar

Copyright information

© The Author(s), under exclusive license to Springer Nature Switzerland AG 2019

Authors and Affiliations

  1. 1.CREW - Center for Research in Economics and Well-BeingUniversity of BaselBaselSwitzerland

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