# data[].attributes.headline
Music and moral judgment: The effect of background music on the evaluation of ads promoting unethical behavior - Naomi Ziv, Moran Hoftman, Mor Geyer, 2012

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Music and moral judgment: The effect of background music on the evaluation of ads promoting unethical behavior - Naomi Ziv, Moran Hoftman, Mor Geyer, 2012

# data[].attributes.attachment_link.readable_text
Background music is often used in ads as a means of persuasion. Previous research has studied the effect of music in advertising using neutral or uncontroversial products. The aim of the studies reported here was to examine the effect of music on the perception of products promoting unethical behavior. Each of the series of three studies described examined the effect of background music on recall and evaluation of a fictive radio ad promoting different types of cheating. The studies consider the effect of involvement, attitudes, priming and presentation context, and music's valence. In all the studies, background music led to reduced recall of information. Positive-valence music reduced awareness of the unethical message, and increased acceptance of the product. The results demonstrate the power of music to manipulate and bias moral judgment.

References

Brinol, P., Petty, R. E. (2009). Source factors in persuasion: A self-validation approach. European Review of Social Psychology, 20, 49-96. DOI: .
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Eagly, A. H., Chaiken, S. (1993). The psychology of attitudes. Fort Worth: Harcourt Brace Jovanovich.
Google Scholar

North, A. C., Hargreaves, D. J. (2008). The social and applied psychology of music. NY: Oxford University Press.
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Petty, R. E., Cacioppo, J. T. (1986a). Communication and persuasion: Central and peripheral routes to attitude change. New York: Springer-Verlag.
Google Scholar

Ziv, N., Ben Chaim, A., Itamar, O. (2010). The effect of positive music and dispositional hope on state hope and affect. Psychology of Music.
Google Scholar

Zuwerink, J. R., Devine, P. G. (1996). Attitude importance and resistance to persuasion: It's not just the thought that counts. Journal of Personality and Social Psychology, 70(5), 931-944.
Google Scholar

# data[].attributes.attachment_link.title
Music and moral judgment: The effect of background music on the evaluation of ads promoting unethical behavior - Naomi Ziv, Moran Hoftman, Mor Geyer, 2012

# data[].attributes.attachment_link.description
Background music is often used in ads as a means of persuasion. Previous research has studied the effect of music in advertising using neutral or uncontroversial products. The aim of the studies reported here was to examine the effect of music on the perception of products promoting unethical behavior.

# data[].attributes.headline
Music and Manipulation: On the Social Uses and Social Control of Music - Google Books

# data[].attributes.subject
Music and Manipulation: On the Social Uses and Social Control of Music - Google Books

# data[].attributes.attachment_link.readable_text
Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts. This volume is the first to address the social ramifications of music's behaviorally manipulative effects, its morally questionable uses and control mechanisms, and its economic and artistic regulation through commercialization, thus highlighting not only music's diverse uses at the social level but also the ever-fragile relationship between aesthetics and morality.

# data[].attributes.attachment_link.description
Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts.

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The Marketer's Guide to Music and Consumer Behavior

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The Marketer's Guide to Music and Consumer Behavior

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Music plays a subtle and overt role in the daily lives of billions of people, influencing everything from their moods to their physical activities.

Of special note is what music does to people's shopping behavior. Marketers can examine how music and consumer behavior interact, highlighting how businesses can effectively use music to bring their products and services closer to their customers.

What Does Music do to Consumers?

The effect of background music on how people think and behave has long been the subject of scientific scrutiny. Recent research confirms past suggestions that music being played in the background shapes people's impressions on how much time to spend in a store, what to buy, and how much to spend. A study out of Curtin University and Macquarie University in Australia proposed that the effect is the result of specific songs or genres subliminally jumpstarting people's memory, which in turn impacts their preferences and behavior.

An example of this might be if a store wants to sell off its beer and bratwurst products, it might pipe in German music through its public announce system. French music might make customers purchase French-made wine over wine from other countries.

The study cited the example of 120 college students who were split up and exposed to musical stylings from three different countries (India, the United States, and China), then given a menu with entrees representative of the cuisine from those countries. They were then asked to write down as many menu items as they could before hypothetically ordering one of those items.

Unsurprisingly, the music the students listened to affected both the menu items they remembered and ordered. Participants who listened to the Beach Boys, for example, were more likely to order typically American food. In general, people were more likely to select items to consume based on the corresponding music they had heard.

Classical Music and Social Identity

Another experiment dealt with how different genres of music can change what consumers think about the cash value of a product. For example, playing classical music has been found to guide customers into paying more for a given product than when other styles of music are played or when no music is played at all. This is a stereotypical "upmarket" association with classical music that makes consumers pay more for products that boost their "social identity." A 2009 study at the University of Cambridge found that classical music listeners liked to think of themselves as "intellectual," and hearing classical music while out shopping might persuade them to pay more for items connected to class and sophistication, such as expensive cologne or gold jewelry.

Yet another study suggested that a style like country music might encourage participants to buy products that are more practical, like toothbrushes and ballpoint pens, than attractive. This was found when 180 college students were exposed to either classical, country, or no music when viewing slides that displayed alternately social identity and utilitarian products. Students who heard country music were willing to pay more for basic products than the participants in the other groups.

Similarly, those who heard classical music would pay more for products that increased their social identity than those who heard country music or silence.

The research was published in the Journal of Retailing, where the scientists observed that music that does not fit the product image can lead to customers not wanting to pay the maximum price for the given product.

Another study found that customers who were shown images depicting affluence and luxury - such as horse racing or yachts - while listening to classical music (known as "priming") were again ready to pay more for products associated with social identity than customers who were not primed in this way.

A key finding is that participants who were under a time constraint to make decisions regarding pricing exhibited this effect very strongly. After priming, students who were given only five seconds to make a decision were significantly more likely to pay more for the product than students who had a full minute to make up their minds. Researchers suggested a potential real-world application: Consumers are more susceptible to priming when they have more things to think about (what researchers called "mental overloading").

It is a stretch to say that background music makes people buy things outside their typical shopping patterns, but there is a lot of evidence to suggest that carefully selecting music can help retailers push congruent products.

Targeting the Brain

Music has long been known to have a strong impact on human emotions, and for marketers who want to understand and influence consumer behavior, this presents many possibilities. The right kind of ambience, lighting, floor space, and music can determine a customer's first impressions from the moment they step foot into a business space, and this can influence how much time they spend in the store, what they choose to buy, how much money they will choose to spend, and the likelihood of their return.

There is actual science behind this. As The Guardian writes, research has found that store owners can create spaces that appeal to the pleasure centers of the customer's brain (specifically to release "feel-good" hormones like oxytocin, dopamine, and serotonin), and the arousal centers of the brain (for hormones like adrenaline and cortisol) make shoppers behave in different ways.

The Categories of Human Response to Music

In 2013, the Frontiers in Psychology journal published an article, "The Psychological Functions of Music Listening," where researchers noted that the human response to music generally falls into four categories.

1. Social: People think about how and where they fit into society, and how they can express themselves in that context.

2. Emotion: The listener feels happy, sad, romantic, nostalgic, etc.

3. Cognitive: The listener feels engaged with the world around them, or they feel disconnected from the world.

4. Arousal: This is music that excites the hearing senses and makes the user feel like taking action based on that arousal.

This is why different stores, in different industries, play music that varies by volume, tempo, and pitch, all down to the specific songs in the playlist. Sometimes, you want customers to be excited and active in your store; other times, you might want them to relax and take their time. Knowing how music activates key neurological responses can be what brings people to your business and what keeps them there. Store owners should choose music that sends the right message to shoppers - ideally, making shoppers feel positive and confident about their presence in the shop, and about their desire to spend money to buy the goods and services on offer.

Tempo and Genre

Studies suggest that the most direct way that music can influence how people shop is through the pace and tempo of songs. In general terms, the tempo of a piece of music is simply the speed of the beat. Tempo is measured in beats per minute (BPM), so a song of 60 BPM is one beat every second. When music is slower and played at a leisurely pace, shoppers tend to take more time to enjoy the atmosphere of the store and to consider their purchases. This keeps them in the business for longer periods of time even if they're not actively paying attention to the music. In some cases, research has discovered that this leads to significantly more sales because stores that play fast-paced music encourage their respective customers to buy fewer things, but to shop faster. This was noted by the Association for Consumer Research, which wrote in 1999 that loud music might be conducive for a business that wants to keep their front door constantly revolving, where people taking their time to enjoy the ambience is contrary to the desired feel of the establishment.

Genre plays a massive role for marketers in deducing consumer behavior.

As mentioned earlier, classical music makes patrons feel more sophisticated and intelligent, and they will purchase items or food in that vein. Country music leads to people feeling more utilitarian, and they will tailor their choices accordingly. What genre of music to play in a store depends mainly on the types of services on offer as well as the desired clientele. A good understanding of your customers' demographics (age, gender, geographic location, and political affiliations) will determine the kind of songs you should play to appeal to them. Ultimately, when people hear music they like, they are more likely to make more purchases and to think better of your store.

Sometimes, the right choice of genre also helps to deter unwanted clientele. Some convenience stores have started playing classical music to discourage loiterers and shoplifters from spending time in the area. The chairperson of the criminal justice department at Seattle University told the Seattle Times in 2009 that the practice (also seen in the United Kingdom and Canada) is part of an "environmental design" plan aimed at changing the nature of the setting, so that "people make other decisions than committing crimes."

So, while classical music in one setting might encourage customers to think more highly of themselves and to spend money that confirms that impression, classical music in another setting is a way of removing unwanted business.

Volume and the Value of Time

As with most forms of expression, it is possible to have too much of a thing. Even if the choice of music is perfect, playing it too loud can be a turnoff for customers. Ideally, customers should not notice the music until the moment they "step outside their conversation," in the words of The Pitch. If the music is too loud, it feels like management is intruding on their personal space; high volume music can unwittingly increase the body's stress responses. If it's too soft, it feels conspicuously silent. Music should help consumers think about their purchases; it should not blatantly direct them one way or another.

Music can even improve consumers' moods. Time spent waiting in line or waiting to speak to someone at your business can be felt and remembered more positively if your customers have something agreeable to listen to.

When a person listens to music they like, it creates a perception that the time was well spent even if nothing actually productive happened at the time. The increase in the value of the time means that consumers won't mind if they are mildly inconvenienced as long as they have music to keep them engaged.

It is hard to overstate to marketers how important music is to predicting consumer behavior. In 2005, for example, the American Psychological Association reported that music was the key sensory factor in making impulse buyers make additional purchases. Researchers found that shoppers who made a purchase they had not planned on making spent $32.89 more when music was playing than impulse shoppers who were not exposed to music during the experiment.

Music in Restaurants

One area where all these factors come together is in restaurants. BuzzTime noted that everything, from the time of day to the type of music being played, impacts how consumers respond to the business they are in.

For example, when a restaurant has a lull during the middle of the day (after the lunch crowd, before the dinner crowd), it might behoove a restaurant to play slow tempo music, to encourage what few patrons are there to stay longer. Playing fast music could make them finish their drinks and leave; slowing things down, on the other hand, entices them to pay up to 40 percent more on drink and dessert menu items, according to American Consumer Reports. BuzzTime suggests that a restaurant would duly benefit if it promotes drinks and desserts during the downtime, and has the music to fit the mood.

Similarly, guests want to feel satisfied at any time of day, and soft background music might be the way to go.

A study out of Cornell University found that customers in a more relaxed setting - easy listening music, soft lighting - tend to report more satisfaction with their food, to the point where they ate less than a control group that had the same amount of food (bright lighting, no music).

On the other hand, peak business periods require a different strategy. In order to turn tables faster, restaurants are recommended to play faster music. When people hear more up-tempo music, they tended to believe they spent more time at their table than they really did. This benefits the business because tables were successfully turned faster, and guests did not feel that they were rushed out; they honestly felt that their time was properly spent, all because of the effect the music had on their perception of the value of their time.

What Music Does to Taste

On the topic of desserts, sound can affect how people taste food, and this should be music to the ears of any marketer in the hospitality business. One study has found that songs with higher frequencies make people more aware of the sweetness of food. Music that features flutes, violins, and acoustic guitars might work with a dessert special.

Restaurants that play background music with a lower frequency (music with a strong bass presence) emphasize bitter flavors. A brew pub that serves craft beer would be popular in this regard because fans of such beverages like the bitterness in IPAs, and high-frequency music would not pair well.

Similarly, music that is too loud makes it harder for customers to perceive sweet and salty tastes. The Food Quality and Preference journal noted that this is why airplane passengers tend to order tomato juice because the intensity of flavor offsets the intrusive noise of the plane. At over 85 decibels, researchers in the Journal of Experimental Psychology: Human Perception and Performance call this an "extreme noise condition."

It can be confusing to know when to turn the volume up and when to keep it low. Whether in a restaurant or any kind of retail store, the trick is for a business owner to know what they want. A general rule of thumb is that the volume of the music being played should match the energy of the crowd present. If patrons are standing up, moving around, and interacting with each other, the volume and type of the music should complement that activity. However, if people are sitting and you want to keep them sitting, then softer, more contemplative music is the solution.

The Importance of Music in Consumer Behavior

Genre again plays an important role for what kind of music restaurants should play, and, again, this depends on the kind of restaurant. Casual, family-friendly restaurants are often best served playing country music because 42 percent of Americans listen to that style, and as AdWeek notes, the base is growing. The strong emphasis on family and community in most country music is one of the drivers behind fans of the genre dining out more than fans of other styles of music, and they usually bring their families with them.

If a restaurant wants to cash in on its alcohol sales, the solution is easy: "Loud music can make you drink more, in less time," according to Science Daily. The lead scientist of a study published in Alcoholism: Clinical and Experimental Research is quoted in Science Daily as saying that high sound levels might cause higher arousal in patrons, which makes them drink faster and order more drinks. Additionally, the louder the music is, the harder it is to talk, which might further encourage consumers to drink more.

Whatever the industry, music is the ambrosia for business. The right choice of music, at the right time of day, can make consumers feel more inclined to make impulse purchases, spend a lot of money, take their time in your store, buy more alcohol, or move on to make way for the next wave of customers. A marketer who knows how to maximize the power of music knows how to create the perfect environment for both the business and its customers to work very well together.

# data[].attributes.attachment_link.title
The Marketer's Guide to Music and Consumer Behavior

# data[].attributes.attachment_link.description
Music plays a subtle and overt role in the daily lives of billions of people, influencing everything from their moods to their physical activities. Of special note is what music does to people's shopping behavior. Marketers can examine how music and consumer behavior interact, highlighting how businesses can effectively use music to bring their products and services closer to their customers.

# data[].attributes.headline
Music and Manipulation: On the Social Uses and Social Control of Music - Google Books

# data[].attributes.subject
Music and Manipulation: On the Social Uses and Social Control of Music - Google Books

# data[].attributes.attachment_link.readable_text
Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts. This volume is the first to address the social ramifications of music's behaviorally manipulative effects, its morally questionable uses and control mechanisms, and its economic and artistic regulation through commercialization, thus highlighting not only music's diverse uses at the social level but also the ever-fragile relationship between aesthetics and morality.

# data[].attributes.attachment_link.description
Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts.

# data[].attributes.headline
Musicians Without Borders - War Divides, Music Connects

# data[].attributes.subject
Musicians Without Borders - War Divides, Music Connects

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We use cookies to anonymously analyze traffic to our website. By clicking accept you agree to our privacy policy which includes information about the use of cookies. ACCEPT

We work with local musicians and organizations to build sustainable programs around the world.

We offer a wide range of trainings for professionals in community music leadership.

We collaborate with organizations to advocate the use of music for peacebuilding and social change.

'If there is something to be changed in this world, then it can only happen through music.'
- Jimi Hendrix

'You may be poor, you may only have a ramshackle house, you may have lost your job, but that song gives you hope.'
- Nelson Mandela

Celebrate with us by listening to the song 'Umwana n'Inkundi' ('All Children are Equal'), written and performed by Rwanda Youth Music.

Rwanda Youth Music Program Manager, Chris Nicholson, takes an in-depth look at one area in our Theory of Change (Resilience) and how it relates to our work on the ground.

As we showcase our work in Rwanda, we interviewed Rwanda Youth Music Coordinator, Shyaka Allison about his background, his work with MWB and how MWB is growing in other African countries.

Enjoy this look at our activities and work throughout the world in 2018.

# data[].attributes.attachment_link.title
Musicians Without Borders - War Divides, Music Connects

# data[].attributes.attachment_link.description
We use cookies to anonymously analyze traffic to our website. By clicking accept you agree to our privacy policy which includes information about the use of cookies. ACCEPT We work with local musicians and organizations to build sustainable programs around the world. We offer a wide range of trainings for professionals in community music leadership.

# data[].attributes.attachment_link.readable_text
February 13th-15th, Leuphana University of Lüneburg

Introduction: city, space and music
"Here time becomes space." In Parsifal Richard Wagner implies that music is a manifestation of the space-time totality. And music and space are indeed related in many ways. Music is embedded in the social and physical spaces where it is produced, distributed or consumed. It can be performed in locations such as music halls, clubs, or concert houses-and has the power to produce images and symbolic associations. Music can mark the acoustic boundaries of a neighborhood or a community or turn "non-musical" spaces into "musical" ones, as street music does. Music, thanks to new technologies and digitalization, has opened doors to virtual spaces. Think of music mapping, sound cartographies, soundscape archives and sounding postcards-all new forms of sonic sociability.

Cities in particular are complex acoustical spaces with multiple reciprocal interrelationships between music and the urban environment. Marshal McLuhan in The Gutenberg Galaxy (1962) has shown us that our understanding of the world is dominated by visuality. But in The Tuning of the World (1977) Murray Schafer directed our attention towards the soundscapes around us. This "acoustic turn" has over the last decades led other disciplines - ethnology, ecology, geography, urban studies, anthropology, sociology, to mention only a few - to begin listening to how the city sounds. Now we see that between the auditory (Bull, Back & Howes 2015) and the imaginary (Castoriadis 1997), between the material and the cognitive, between everyday life and powerful politics forces, urban sonic placemaking - both as cause and product - occurs.

In our second international conference of the Urban Music Studies Scholars Network, we are looking for papers that transgress the boundaries between our notions of music and space. We are explicitly following Henri Lefèbvre's (1991) concept of a dialectics of triplicity and Edward Soja's (2008) trialectic of spatiality. A first level encompasses material, physical, and social spaces of music and the mutuality of sound-music and space-architecture from historical, social, economic and cultural perspectives. A second level focusses on the mutuality of music and symbolic aspects of space such as images, brands, and imaginaries. While the third level should open up an arena of powerful mediations between music-sound and spatial politics, whether this results in the appropriation of the city by music or the appropriation of music by the city.

We invite proposals for individual talks or group sessions on any of the following topics, which we have put into three research streams:
I. Music in material and social urban spaces
In this stream, the following issues might be addressed:

How does music affect and how is it affected by the built urban environment, by architecture and urban planning? An intimate relationship between music and architecture has been corroborated for a long time: in the Pythagoreans' harmony of numbers as principles for constructing music and architecture, in Schelling's "frozen music" or Goethe's "silent music". The material structure of "musical spaces" influences the performance, something we see throughout the history of music, from polychoral music emerging from the architecture of basilicas to symphonies performed by orchestras in specially built concert halls in the 19th

What are the potential and concrete physical opportunities for experimental music production, distribution and consumption? Cities like Detroit, Rio de Janeiro, New York in the 1970s, or Berlin in the 1990s are examples of what we call kaput cities, socially and economically deprived, yet they showed that the decline and neglect of urban spaces can have the unintended consequence of turning entire cities into innovative and inventive musical stages, providing incubators for new music, performances and lifestyles.

What does contemporary architecture and city planning have to say about the sonic environment of urban spaces? These practice-oriented disciplines may take a different perspective than that of music history, which has long dealt with the influence of music on architecture.

How is identity formed by space and music? Music demarcates urban spaces in their sensual, social and material boundaries, whether the La Fenice in Venice for opera, CBGB in New York for Punk or heterotopic festivals like Tomorrowland for EDM/Rave.

How do musical scenes create symbolic capital for cities? They originate in run down, neglected quarters, re-use vacant buildings and create polyvalent social and material spaces in which different, yet closely interwoven dispositifs.

II. Experiencing urban spaces by music
In this stream, the following issues might be addressed:

What are the constant - as opposed to those constantly in flux - musical or acoustical properties of the sonic and musical environment in urban spaces? Examples might include sound postcards, "sound of the city" music compilations or the city symphony film genre from the 1920s and 30s.

How is music mentally associated with the city, whether through popular music film scenes or the imaginary of the cool and symbolic capitalism?

Just as sound and music influence the city, we might ask how the city influences music. Countless popular songs reflect in one way or the other on the urban experience. Numerous musical works use urban sounds as a source for compositions, installations and sound sculptures.

How, on the level of the individual, does music affect a different space, the psychosocial inner world of the listener? Music also represents an emotional territory, creating spaces of subjectivity, magnifying individual feelings into collective ones and offering multiple intersecting identity constructions along difference markers such as race, gender or class.

III. Music and political urban space
In this stream, the following issues might be addressed:
Organizational framework

How do political interventions affect different levels of musical life, from (legal) regulations of daily musical practices to economic aspects and the instrumentalization of music for the revitalisation of de-industrialized districts, the culturalization and festivalization of cities, tourism, city marketing and the deployment of music for placemaking?

How much, where, and why do cultural policies become policies of music, and who decides how, why and which kinds of music are practiced where and for whom? What is the relationship of political city planning agendas to music and sound design?

What kind and why are there new (public) investments in the urban musical infrastructure? What is the impact of commercially motivated music tourism and an aligned cultural economy on, for example, the development of (un)sustainable cities? How does the power of municipal politics shape the reciprocal causality of music and placemaking? How does politics in urban contexts shape and harvest the political power of music for identity politics or branding? In a less dystopian perspective, how can music help to construct urban spaces that promote diversity, anti-racism, democratization, or decolonization?

To help better understand these structures, processes and underlying mechanisms of urban music between material and mental spaces, politics and policies, local and global influences, economic and social interests on micro and macro levels, the Urban Music Studies Scholars Network organizes the second international conference Groove the City - Constructing and Deconstructing Urban Spaces through Music on 13-15 February 2020 at Leuphana University in Lüneburg, Germany.

Abstracts of papers and group sessions are invited on any of the following topics:

Planning cities, urban spaces and urban architecture by music

The shaping of city space through music

Music and urban imaginaries

The city, music and cool capitalism

Social functions of music in the city

Soundscapes and their concrete effects on cities

The sonic identity of a city (music creates cities)

City symphonies (cities create music)

Music and creating emotions in urban spaces

Visual associations of cities through music

Cities and musical heritage

Urban policies of music

Questions of resources, access, finances

Governing the city by music

Urban Music Studies is a lively field of research with a high discursive and transdisciplinary potential. So we welcome critical reflections from a broad range of disciplines: historical musicology, sociology of music, urban theory, urban sociology, policy studies/political science, geography, ethnomusicology, popular music studies, cultural studies, architecture, media studies, sustainability studies, intersectionality & diversity studies, anthropology, psychology, economics, psychoacoustics, architecture, urban geography, sound studies, urban studies, and urban planning.

Talks on theory and methodology are appreciated as well as empirical case studies and art-based research. All musical genres can be subjects of discussion; historical reconstructions and observations of current structures and processes are welcome. We especially encourage cross-cultural perspectives and proposals from the Global South and other so-called "peripheral" cities and countries, which are unfortunately still too often neglected in current mainstream research and scientific discourse. We also welcome unorthodox proposals: ask for submission advice.

The conference language is English. Proposals can be submitted for

panels on a specific topic (with up to 3 or 4 presentations: 60/80 minutes + 30/40 minutes discussion)

single papers (20 minutes presentation + 10 minutes discussion)

poster presentations of projects, in particular PhD projects

workshops, possibly with an artistic orientation (60-120 minutes)

Please submit your proposal here: https://www.conftool.org/groove-the-city-2020.

The deadline for the submission of the proposals is 5 September 2019. Notification of acceptance will follow before 15 October 2019. A conference publication of selected papers is planned.

# data[].attributes.attachment_link.description
February 13th-15th, Leuphana University of Lüneburg Introduction: city, space and music "Here time becomes space." In Parsifal Richard Wagner implies that music is a manifestation of the space-time totality. And music and space are indeed related in many ways. Music is embedded in the social and physical spaces where it is produced, distributed or consumed.