Programme book for the 25th EAS Conference and 6th European ISME Regional Conference held on 19-22 April 2017 at the Mozarteum University in Salzburg, Austria. The conference was organized by the Department for Music Pedagogics Salzburg of Mozarteum University Salzbug. The programme book lists the events and includes abstracts of the research papers.

A techno-cognitive look at how new technologies are shaping the future of musicking. “Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, Sound Actions proposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.” What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions entail a meeting point between interactive music technology and embodied music cognition, what author Alexander Refsum Jensenius calls “embodied music technology.” Moving between objective description and subjective narrative of his own musical experiences, Jensenius explores why music makes people move, how the human body can be used in musical interaction, and how new technologies allow for active musical experiences. The development of new music technologies, he demonstrates, has fundamentally changed how music is performed and perceived.

We love to be entertained. And today's technology makes that easier than ever. Listen to tunes while working out? No problem. Watch a movie on your cell phone? Can do. Get 450 channels of digital entertainment bounced off a satellite and into your vehicle—even while traveling through empty wastelands? Simple. But behind these experiences is a complex industry, dominated by a handful of global media conglomerates whose executives exert considerable influence over the artists and projects they bankroll, the processes by which products are developed, and the methods they use to promote and distribute entertainment. As this set shows, the industries in which commerce, art, and technology intersect are among the most fascinating in all of business. Entertainment is a high-stakes industry where stars are born and flame out in the blink of an eye, where multimillion dollar deals are made on a daily basis, and where cultural mores, for better or worse, are shaped and reinforced. The Business of Entertainment lifts the curtain to show the machinery (and sleight of hand) behind the films, TV shows, music, and radio programs we can't live without. The Business of Entertainment comprises three volumes, covering movies popular music, and television. But it's not all about stars and glitter—it's as much about the nuts and bolts of daily life in the industry, including the challenges of digitizing content, globalization, promoting stars and shows, protecting intellectual property, developing talent, employing the latest technology, and getting projects done on time and within budget. Challenges don't end there. There's also advertising and product placement, the power of reviews and reviewers, the cancerous spread of piracy, the battles between cable and satellite operators (and the threat to both from telephone companies), the backlash to promoting gangsta lifestyles, and more. Each chapter is written by an authority in the field, from noted scholars to entertainment industry professionals to critics to screenwriters to lawyers. The result is a fascinating mosaic, with each chapter a gem that provides insight into the industry that—hands down—generates more conversations on a daily basis than any other.

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the role of the arts within a general theory of knowledge. As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition. In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind.

The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.

This essential guide promotes learning through activity-centred adventure experiences, providing skill development, social education and personal development for practitioners, teachers, support staff and youth groups. This book offers advice and practical guidance on planning, setting up and running adventure education sessions with children and young people. Divided into two parts, it gives an overview of adventure education, explaining how it relates to holistic and outdoor learning and how it encourages active engagement from the learners as well as the instructors. Adventure Education provides a toolkit of various games and activities that can be used with groups of young children, including parachute games, card and musical activities, and climbing and traversing games. This book will be essential reading for all Early Years practitioners, Primary teachers and support staff wanting to develop their skills and deliver adventure learning effectively, as well as youth groups looking to provide informal learning as well as physical opportunities.

‘This is an extraordinary achievement and it will become an absolutely vital and trusted resource for everyone working in the field of popular music studies. Even more broadly, anyone interested in popular music or popular music culture more generally will enjoy - and find many uses for - the wealth of information and insight captured in this volume.' Lawrence Grossberg, Morris Davis Professor of Communication Studies and Cultural Studies, University of North Carolina at Chapel Hill The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies. Popular music has been a major force in the world since the nineteenth century. With the advent of electronic and advanced technology it has become ubiquitous. This is the first volume in a series of encyclopedic works covering popular music of the world. Consisting of some 500 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and is arranged in two Parts: Part 1: Social and Cultural Dimensions, covering the social phenomena of relevance to the practice of popular music. Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. For more information visit the website at: www.continuumpopmusic.com