Inside Austria, Vienna has always been the only place to study Eurhythmics on university level – besides Laxenburg (School Hellerau-Laxenburg 1925-1939). Vienna's Music and Movement Education/Rhythmics was the first Bachelor- and Masterstudy in Europe and is one of the largest programmes for this study in the world. (Sych 2016, 5) It attracts students from other European and non-European countries. (Witoszynskyj 2016, 18) Translated by: Hannes Taljaard Edited and supplemented by: Christoph Falschlunger, Vienna 2023 This text is a summery of an article of Eleonore Witoszynskyj, which was first published in German 2016.* Supplementary to this text you can find historic photo material within this digital exibition designed by Herta Hirmke-Toth: www.dermediendesigner.at/portfolio/img/17/tafeln.pdf

This technical report provides the construction details and solutions of the further development of a reed-instrument artificial mouth (RIAM), which is an artificial blowing device used to analyse single-reed musical instruments. Among other aspects, the extension by a special seal, which flexibly encloses the mouthpiece, and the introduction of a controlled artificial tongue are discussed. Software developed in LabVIEW is explained for a better understanding of the features provided. Technical drawings presented should facilitate reproducing the design of RIAM 2.0.

Smetana, Monika (2023, 6. Oktober). Vom Hören und Zuhören zum Dialog: Musiktherapeutische Erfahrungen im intersubjektiven Raum. Antrittsvorlesung zur Professur für Musiktherapie, mdw – Universität für Musik und darstellende Kunst Wien.

The participation of skilful - in addition to soundful - bodies in action is essential to the interaction of individuals in creating music for dancing. Since cultures, being products of human individuation, exist only in performance (Blacking), the recent awareness in anthropology of varying worlds and worldviews (Heywood) reveals particularities of diverging ontologies as an effective object of research. Exploring music for dancing in this context provides significant insights of inter-individual relations and social context, which do not simply arise from the behaviour of individual agents, but themselves enable and shape the individual agents on which they depend (De Jaegher and Froese). Diverging ontologies in music for dancing may therefore be perceived as an indispensable constituent component of the music∼dancing coupling.

The participation of skilful - in addition to soundful - bodies in action is essential to the interaction of individuals in creating music for dancing. Since cultures, being products of human individuation, exist only in performance (Blacking), the recent awareness in anthropology of varying worlds and worldviews (Heywood) reveals particularities of diverging ontologies as an effective object of research. Exploring music for dancing in this context provides significant insights of inter-individual relations and social context, which do not simply arise from the behaviour of individual agents, but themselves enable and shape the individual agents on which they depend (De Jaegher and Froese). Diverging ontologies in music for dancing may therefore be perceived as an indispensable constituent component of the music∼dancing coupling.

Beginning around the mid-1930s, clarinetist and bandleader Benny Goodman engaged with classical music, adding standard solo pieces to his regular performance and record portfolio. He also stimulated the emergence of a modern clarinet repertoire by granting commissions to composers, such as Béla Bartók, Paul Hindemith, Darius Milhaud, and others. In this article, I explore why and how these projects evolved and how the collaborations unfolded. My focus is on the commissions to Hindemith (1941/47) and Milhaud (1941). The newly found correspondence of Eric Simon, a Viennese-born clarinetist who advised Goodman and initiated contact with Hindemith and Milhaud, reveal Goodman's “double life” as a multilayered sphere for various actors, each with their own specific background and agenda. My analysis follows three topics that decisively shaped the investigated projects: Goodman's relationship with classical music, which I discuss in light of the intersectionally biased structures of U.S. musical life; the situation of European émigré artists experienced by Hindemith, Milhaud, and Simon; and the promotion of new music, which linked the lives, networks, and agendas of the aforementioned protagonists and even defined their relationships. By highlighting Goodman taking center stage as a performer-commissioner, I argue for more serious attention to performers’ impact on musical production and repertoire formation, given that they represent the ultimate gatekeepers to the living repertoire.

This article seeks to deepen our understanding of the do-it-yourself (DIY) careers of a younger generation of classically trained musicians in the context of the neoliberal transformation of higher music education and music labour markets. Drawing on 46 interviews with white middle-class students and graduates of the three public, state-funded higher music education institutions in Austria, we examine how these artists seek to advance their careers as orchestral musicians, soloists or chamber musicians and manage the entrepreneurialism, competitiveness and precariousness that underpin the classical music labour market. Our study shows that the musicians cultivate an entrepreneurial ethos, but also adopt alternative cultural practices that promote collectivity, solidarity and care for one another. In these processes, the DIY ethos takes on a double meaning: It is adapted by the young musicians to neoliberal rationality, while also being fundamental for initiating, organising and managing small DIY music projects, festivals and cultural initiatives.

The Table of the Development of psychological Functions was first published in the research report Rhythmik als Movens der Entwicklung der psychische Funktionen (Garnitschnig, Karl & Neira Zugasti, Helga, Vienna 2006) and in the DVD (incl. CD-Rom) Entwicklung beobachten, erkennen und unterstützen am Beispiel der rhythmisch-musikalischen Erziehung (Neira Zugasti, Helga & Garnitschnig, Karl, Vienna 2008). An updated version of the table with additional explanations will be presented in 2021. Presentations of the two theoretical bases, i.e. the Theory of psychological Operations (Theorie der psychischen Operationen, TPO) and Rhythmics, as well as of the detailed handling of the ‘Developmental Grid’ (incl. video) can be found in the two publications mentioned above and under the link: https://www.mdw.ac.at/mrm/mbe/inklusions-und-heilpaedagogikdiversitaet/ entwicklungsraster-tpo/.

This text gives insights into Eurhythmics in the field of special education (or “Heilpädagogik“ – the term is used in German speaking countries) by focusing on the life and work of Mimi Scheiblauer. She was one of the first women in the German speaking countries to work with children with disabilities. She published her experiences and approaches in articles and films over several decades. The text also gives some background information on Eurhythmics in Austria and its connection to Scheiblauer.