This oral presentation examines music festivals as a non-formal form of music education. It aims to present the research findings of a postgraduate study that explored in depth the qualities of the Horto Festival in Magnesia and the seminars of Giorgos Hadjinikos to highlight their impact on the artistic and professional identity of the participants. International literature includes limited research on the educational dimensions of music festivals (Karslen, 2009; Lell, 2019). Most studies view them as consumer products, while fewer examine the motivations for participation (Packer & Ballantyne, 2011). This research aspires to provide useful insights for music education and encourage musicians and listeners to redefine their relationship with music. It examines classical music outside conventional frameworks, aligning with the broader movement of opening music education to society. A qualitative methodology was employed for the study, specifically a case study approach. The primary data collection tool was the narrative interview, an unstructured method that sheds light on both the personal history of each subject and the context in which it unfolds (Muylaert et al., 2014). Triangulation was achieved using archival material and documents provided by participants. The research material was analyzed using thematic analysis. The theoretical framework was based on Lave & Wenger's (1991) theory of situated learning—the festival functioned as a community of practice, where learning occurred through legitimate peripheral participation.

Findings indicated that the Horto Festival appeals to both experts and a broader audience, fostering cultural dialogue. Music is linked to self-discovery and promotes self-definition through experiential processes. Additionally, group activities cultivate a sense of belonging and communication skills, while the natural environment facilitates liberation from the constraints of urban life. The findings of this study could inspire further applications in the field of music education. Formal and non-formal learning coexist with diverse interactions within a traditional classroom (Folkestad, 2006). In this light, emerging teaching practices could be adapted and tested for their effectiveness in formal educational settings. Furthermore, studies on the diversity of musical activities and learning within specific local communities reveal the structure of the musical community as a stable and essential factor in music learning (Veblen, 2018). This, combined with the emphasis on group dynamics as a key element in music learning in this study, raises considerations for incorporating various group activities into music education.

• Music and sound education experiences, values, and practices
• Social musical settings
• Interdisciplinary approaches in music education
• Historical and cultural perspectives and contemporary educational practices
• Meaningful musical experiences
• The nature of musical knowledge
• Music psychology and identities
• Music and communities

Semina Akrivopoulou is a graduate of the Department of Greek Philology at Aristotle University of Thessaloniki (2015-2019). At the same time, she studied classical guitar and Advanced Music Theory and attended Music Therapy seminars. In 2021, she obtained a Harmony Diploma. She continued her studies in music by enrolling in the master's program "Music Education in Formal and Informal Settings" at the Department of Music Studies of the National and Kapodistrian University of Athens (October 2022 – March 2025). Her professional experience includes music education and musical activities for the elderly, teaching Greek philology in secondary education, as well as teaching early childhood music education and music and movement activities. Her interests focus on community music and both formal and informal learning methods.