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The article discusses the holiday courses event in Darmstadt (Germany), 1972 to today, and the combination with New Music. The author focuses on how New Music musicians are connected to sports and how sport halls and football stadiums have been used for musical events. Special attention is given to "Laufarten", a New Music event directed by Italian pianist and composer Davide Mosconi that took place in 1976 in a gymnastics hall using sports equipment as theatrical requisites.

The article discusses the aesthetics and acoustic dimension of sounds within the context of sports, according to the author. Examples of sounds, which occur in sport may be a basketball against Linoleum, skates on ice, or a boxing glove hitting flesh. Other topics include the behavior of spectators, noise, and American composer and music theorist John Cage.

The article profiles the women's soccer team of the Bayerisches Staatsorchester (Bavarian State Orchestra) in Munich, Germany, named "Ballküren" (Ballkyries). It describes the team's origins at an amateur soccer competition during the 2011 Women's Soccer World Cup. It considers reasons for the relative rarity of sports activities for professional women musicians. It also outlines the benefits of using sports for fostering a collegial institutional environment and overcome gender stereotypes.

The article presents information about the cooperative music and sports performance project "Klangsport," launched by project director Marina Sahnwaldt in Münster, Germany in 2011. Descriptions are given of the performing group theaterformen's contributions to the project, as well as those of composer Daniel Ott. It is noted that "Klangsport" won an award in the so-called "LabOhr" category of a competition for juvenile music education.

The article presents information on a cooperative initiative between the regional music council and sports association of Rheinland-Pfalz, Germany. Descriptions are given of cultural events held in the area in 2011 and 2012, including a photographic series on music and sports by photographer Jane Dunker, as well as a performance by the musical group Neue Musik. Further comments are made concerning potential expansions in educational programs to allow for sports, music, and religious events.

The article presents a discussion on the similarities and differences between athletes and musicians. Comparisons are drawn between musicians' and athletes' discipline of practice, their vulnerability to injury, and their perception of their bodies. Suggestions are included for musicians to adopt a more athletically inspired philosophy of practice, performance, and self-care.

The article discusses sports history, focusing on the financial and social aspects related to sports' popularity. The author attempts to apply sports event production principles to the music world, emphasizing the importance of a guiding economic concept, competent management, and sufficient capital to the financial success and popularity of music projects and professional sports. Suggestions are given for potential cooperation between music industry officials and sports event organizers.

The article presents a discussion on the relations between music and sports. Descriptions are given of the role of music in soccer tournaments, ice skating competitions, the Olympic Games, and rhythmic gymnastics. Further note is taken of the similarities between popular athletes and successful recording musicians, and the author explores the possibility of applying marketing and economics principles to both sports and music promoting.

The article discusses the link between music and sport in relation to a festival titled "Sportstücke- Neue Musik im Dialog," which is being hosted by the Berliner Gesellschaft für Neue Musik (Berlin Society for New Music-- BGNM) from November 18-December 15, 2012 in Germany. The similarities are observed in the repetition of movements, rhythm, and ritual of both phenomenon.

The article presents information about the relations between the German orchestra SWR Sinfonieorchester Baden-Baden and a soccer club in Freiburg, Germany. Descriptions are given of the orchestra's performance of the overture from the opera "Carmen," as well as the song "You'll Never Walk Alone," for the beginning of a soccer match in April, 2012. The author comments on the orchestra's financial situation, comparing sports marketing and orchestra publicity.

Abstracts are presented for articles in this issue of the journal, including one on the relations between music and sports in Munich, Germany, one on the significance of innovation in theater management, and one reporting on an orchestra conference held in 2012 in Hanover, Germany.

The article introduces the issue by commenting on its discussions on the relations between music and sports, the room for development in German theater and orchestra management, and reports on orchestra and classical music fairs held in Germany in 2012.