Zum ersten Mal setzt sich ein Buch ausführlich und umfassend mit der seit den 1980er Jahren wachsenden österreichischen HipHop-Musiklandschaft von Falco bis Raf Camora auseinander. Dabei werden genredefinierende Charakteristika der HipHopMusik für klassische Subgenres wie BoomBap und Gangsta-Rap sowie für aktuelle Ausformungen wie Trap und Cloud-Rap herausgearbeitet. Über den Aspekt der Glokalisierung wird zudem das Zusammenspiel von globaler Verbreitung und lokaler Aneignung von HipHop-Musik am konkreten Beispiel der österreichischen HipHop-Szene demonstriert.

Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.

Anhand der Geschichte der mdw im 19. Jahrhundert – damals ein von der Gesellschaft der Musikfreunde als private Einrichtung geführtes Konservatorium – wird ein Blick auf die Ursprünge, Entwicklungen und die um die inhaltliche Ausrichtung institutionalisierter Musikausbildung geführten Diskussionen geworfen.

Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players. Citation: Probst, Stephanie (2021). "From Machine to Musical Instrument: The Life and Workings of the Metrostyle Pianola." Journal of Musicology 38 (3): 329–363.

The role of women artists in the theatre reform of the early 20th century is usually underestimated. This paper strives to reassess the agency of a female performer (Gertrud Eysoldt) in this process, concentrating on the premiere production of Elektra by Hugo von Hofmannsthal (1903, Kleines Theater). Hofmannsthal wrote his version of Elektra not only for Max Reinhardt’s company (which he considered to be a new kind of theatre) but also specifically for Eysoldt, and this article focuses on the communication between them. The main sources for this research are texts written by the actress: her article for a newspaper and her letters to Hofmannsthal (published in 1996) and Hermann Bahr (unpublished, Austrian Theatre Museum). These texts are analysed more from the perspective of their poetics than from the perspective of the facts they convey. Eysoldt’s autobiographical writings reveal an unexpected facet of the 'dionysism' that may have attracted Hofmannsthal. Finally, a question is raised about the meaning of the shift that Hofmannsthal made by offering the performer a re-writing of a foundational myth of patriarchal culture.

This paper provides a case study of the artistic research project Confronting Realities – First Steps. Working on Cinematic Autosociobiographies conducted at the Film Academy Vienna/ mdw – University of Music and Performing Arts Vienna, Austria as well as a reflection on the relationship between its research approaches, theory and criticism. Drawing from literary autosociobiographies of Ernaux (Les Années, 2008) and Éribon (Retour à Reims, 2009), the aim was to explore, describe and produce cinematic autosociobiographies - autobiographies in regard to and contextualized within the frame of social class and larger historical developments. Over the course of 10 months a multi-level project was designed and conducted to explore the format of cinematic autosociobiographies within the course “Research Project II” of MA and BA Students for Directing, Script Writing as well as Film and Media Studies. A group of 8 external performers from various backgrounds joined the project. The project was designed on four levels: Level (1) of Autosociobiographical Exploration that created three exploration groups with varying composition – 14 artist researchers/ film and acting students from Europe, refugee artists from Iran and Syria - to explore, make accessible and contextualize one’s sociobiography. Level (2) of Cinematic Forms and Techniques intended to develop narratives, cinematic techniques and formats of cinematic autosociobiographies - 2 short films were produced in that context that show the diversity of cinematic form and content on the levels of visuals, framing, audio, editing as well as in the narrative and the narrative development. Level (3) of Interdisciplinary and Theoretical Contextualization intended to build a strong interconnection between artistic, theoretical and interdisciplinary research about social class, cinematic forms and collaborative strategies of film production. Level (4) of Reflection and Evaluation intended to create a reflective framework, especially focusing on the collaborative aspect of filmmaking, ethical aspects of working with autosociobiographies and of researching/ creating in an intimate way in an academic environment. Cinematic autosociobiographies have shown to provide unique artistic research approaches and tools to convey collective movements, to find relations between different realities as well as creating ways of making them accessible. Further research is still needed and planned.

Unruhestifterin. Die Studentin Lilly Pollak war Anfang der 1930er-Jahre federführend bei Protesten an der Akademie für Musik und darstellende Kunst – und wurde dafür vom Studium ausgeschlossen.Das Forschungsprojekt Klingende Zeitgeschichte zeichnet Pollaks Lebensweg bis ins Exil nach.

In 2018, the Music Therapy Research Centre Vienna (WZMF) conducted a national survey of the professional situation of music therapists in Austria. Following a previous survey from 2011, this study aimed to provide current data and to illustrate changes in the professional field. Since 2009, music therapy in Austria has been regulated by the Music Therapy Act. All working music therapists must be registered and therefore constitute a homogeneous group, which enables systematic research in the field.An invitation to take part in an online survey was sent to all 405 music therapists who were registered in October 2018. The survey covered the music therapists’ current working situation including workplace, hours of work per week, fields of work as well as legal and financial issues.With a response rate of 73.8 % (299 people), the results offer representative data from 380 workplaces. In general, the findings show an increase in music therapy services, which are offered most frequently for children and adolescents with developmental or behavioural problems (22.5 %) and for adults with mental health problems (21.5 %).The high response rate means that the results provide representative data for the situa­tion of music therapists in Austria. Beyond that, this data may also be used as a reference to support professional development internationally

Hochschulen und Universitäten, natürlich auch Kunstuniversitäten, stehen vor der Herausforderung, sich mit breiter Teilhabe und Exzellenz auseinanderzusetzen. In diesem Beitrag soll dargestellt werden, dass breite Teilhabe und Exzellenz keinen Widerspruch darstellen müssen, sondern die aus einer breiten Teilhabe resultierende Diversität bei geeigneten Vorkehrungen und Maßnahmen bereichernd für einen Gesamtprozess wirken kann. Für die Ausführung wurde das Beispiel der inklusiv musizierenden Band All Stars Inclusive an der Universität für Musik und darstellende Kunst Wien gewählt, anhand dessen teilhabe- und exzellenzfördernde Faktoren dargestellt wurden.