This article reflects on the project Jazz macht Schule – Schule macht Jazz uniting students and professionals from the artistic backgrounds of creative writing, bodymusic, the visual arts, instrumental tuition, media and dance, in order to foster engagement with the world of jazz. The project aimed to introduce the musical and historical dimensions of jazz, but also to encourage creative expression, collaboration and critical engagement with the art form, in alignment with the Austrian lower secondary school music education curriculum. It highlighted female jazz musicians and was conceptually anchored in the vision of International Jazz Day, which it celebrated with a collaborative performance, live music and exhibitions.

This practice-based contribution explores two approaches to jazz mediation linked to the Elbphilharmonie Hamburg: the Elbphilharmonie Jazz Academy and the Elbphilharmonie Education Seminar as part of the Dr. Langner Jazz Master programme at the Hamburg University of Music and Drama. Both initiatives connect artistic excellence with social and educational engagement, positioning jazz not merely as a musical genre but as a social practice grounded in improvisation and dialogue. The Jazz Academy creates a temporary collective space where emerging professional jazz musicians work intensively with renowned mentors to develop the participants’ original compositions and perform them in a public concert. In the Education Seminar, jazz students design and implement mediation workshops for diverse target groups, exploring jazz as a communicative and participatory art form. In summary, the text demonstrates how institutional engagement with formats that integrate artistic production and music mediation can support emerging jazz musicians in building sustainable careers.

Dirty Dragging ist dem unberechenbaren, nomadischen Mitschleppen gewidmet und reformuliert queertheoretische Fragen aus transozeanischer Perspektive. Das Buch beschäftigt sich mit der Ambivalenz ›dreckiger‹ Auftrittsformen von Drag über Karneval bis zur Propaganda in politischen Gewaltzusammenhängen: unter Apartheid, NS und Jim Crow-Segregation. Evelyn Annuß erweitert die Lektüre von Gender Bending um Perspektiven auf Blackface und ›racialized Drag‹. Entsprechend fragt Dirty Dragging sowohl nach gewaltförmigen, lokal spezifischen Mobilisierungen des Transgressiven als auch danach, wie sich queere und kreolisierte Formen performativen Widerstreits gegen identitäre Trennungen verschränken. So erinnert das Buch vor dem Hintergrund gegenwärtigen rechtsautoritären Abdriftens zugleich an das potenzielle Glück, die Verhältnisse kollektiv zum Tanzen zu bringen

Facing Drag brings together international experts from fields like history, media, theatre, and performance studies to explore how gender, race, and ethnicity are impersonated across time and cultures. Using diverse case studies, the volume examines acts of crossing, appropriation, and re-signification in performance, highlighting their political, ethical, and aesthetic dimensions. It expands the concept of drag beyond gender bending, investigating its intersections with racialization and colonial histories. The essays offer critical insights into both the subversive potential of drag and its entanglement with violent forms of othering and exclusion. Mit Beiträgen von Evelyn Annuß, nora chipaumire, Sam Ehrentraut, Zimitri Erasmus, Elaine S. Frantz, Aurélie Godet, Karin Harrasser, Nanna Heidenreich, Katrin Köppert, Eric Lott, Julia Ostwald, Jay Pather und Raz Weiner

How can diverse musical interactions be productively used to promote inter- and transcultural communication, support human thriving and flourishing, empower marginalised social groups, or make society as a whole more sustainable, just and inclusive? Bringing together perspectives from research and practice, this edited volume explores how music mediation as a distinct artistic-educational practice can foster social cohesion, enable dialogue, and create new forms of engagement. The contributions critically reflect on the conditions, limitations, and potentials of music mediation in various contexts, providing insights for scholars, musicians, and practitioners working at the intersection of music and society.

In order to simulate the function of bowed string instruments, it is necessary to model the frictional interaction between the bow hair and the vibrating string. This is possible using an elasto-plastic friction model, which has previously succeeded in reproducing experimental data captured on a monochord setup. In this study, this elasto-plastic model is refined to guarantee passivity, and a stable numerical scheme is derived that inherits the energy balance of the underlying continuous model. The approach presented considers a finite-width bow, thus spreading the bow–string interaction over an area. The compliance of the bow hair and the torsional motion of the string are also taken into account. A sound example and animations of the string motion are provided to demonstrate the behavior of the model.

Suizidalität ist ein verbreitetes Sujet unzähliger Lieder, Opernarien und Instrumentalstücke – so etwa im berühmt-berüchtigten Suicide Song »Gloomy Sunday«. Aktuell wird in fachlichen und populärwissenschaftlichen Debatten diskutiert, inwieweit Musik Einfluss auf reale Suizidhandlungen zeitigt, sei es als Risiko- oder als protektiver Faktor. Die Beiträge des Bands, die auf dem Symposium »Musik und Suizidalität« an der mdw – Universität für Musik und darstellende Kunst Wien 2022 der Öffentlichkeit vorgestellt wurden, greifen diese Debatten auf. Der Band bringt erstmals kulturhistorische, empirische, medizinische und therapeutische Perspektiven zusammen, um den Diskurs über das noch immer tabubehaftete Thema weiter zu etablieren und mit Sichtweisen aus der Praxis zu erweitern. Mit Beiträgen von Andy R. Brown, Julia Heimerdinger, Susanne Korn, Thomas Macho, Paul Plener, Claudius Stein, Benedikt Till & Thomas Niederkrotenthaler, Harm Willms sowie Studierenden der Musiktherapie und der Instrumental- und Gesangspädagogik

The seemingly unproblematic link between sound and philology turns out to be rather fragile on closer inspection. For a long time, dimensions of sonic phenomena were regarded as “secondary parameters,” so that tools for analyzing phenomena of sound were not developed to the same degree as analytical tools for text-related aspects. It is precisely this confrontation between music as text and music as sound, in which the critique of a musicological “forgetfulness of sound” has a precarious starting point in the history of the discipline. This chapter, which is concerned with mapping the intersection between “sound” and “philology,” argues step by step: After briefly recalling the discussion of phenomena of sound in the history of the reception of Mahler’s work, it argues for the formulation of an integral concept of musical sound that includes aspects of materiality, mediality, and performativity. Against the background of a historical and systematic positioning of philology as a scientifically founded and oriented discipline, some virulent fundamental questions of musical philology between author-related editorial philology and philological research into creative musical processes are worked out. This is further elaborated with regard to specific aspects raised in particular by the philological approach to the sound world(s) of Mahler’s symphonic works.