Vor 100 Jahren wurde die Fachhochschule für Musik und darstellende Kunst als eine der Vorgängerinstitutionen der heutigen mdw – Universität für Musik und darstellende Kunst Wien gegründet. Sie kann, soviel steht fest, als ein einzigartiges Spezifikum der österreichischen Hochschulgeschichte gesehen werden. Trotz ihrer äußerst kurzen Lebensdauer sowie wenig nachhaltigen Existenz ist es wert, die Geschichte dieser von 1924 is 1931 bestehenden Hochschule zu erzählen: Wie unter einem Brennglas offenbaren sich hier die Folgen von Fehlplanung, Intrige, weltanschaulicher Entzweiung und politisch-ideologischer Einflussnahme. Und obwohl die nur 7-jährige Geschichte der Hochschule fast als kurios zu bezeichnen ist, spiegelt sich in ihr die zunehmend radikalisierende innenpolitische Situation Österreichs in den Zwischenkriegsjahren wider.

This paper presents the conclusions of an experimental study on fingering and hand position guided by Renaissance portraits of keyboard players as well as contemporary theoretical writings on keyboard technique. The author investigates the relationship between theoretical statements and representations in art, comparing and analyzing the different positions of fingers, hands and wrists in both type of sources. Particular attention is paid to a subject that began to appear in the first years of the 16th century and became fully fashionable from the beginning of the 17th century onwards: St. Cecilia at the keyboard. The representations of Cecilia dramatically increased after the ‘discovery’ of the saint’s body in 1599, and they offer a vast repository of images of keyboard players. The results of these investigations are presented in their practical application through images and videos recorded by Maria Luisa Baldassari and Augusta Campagne; the study finishes with a comprehensive reference guide that summarizes the rules for fingering and hand position of the most important treatises.

The commonly-understood conception of Italian keyboard intavolatura as a species of tablature notation carries with it certain implications: that intavolatura shares a basic affinity with lute and figure-based keyboard notational systems; that it is a ‘finger notation’, designed to transmit information necessary for the mechanical actions of playing, but not for voice leading and polyphonic detail; that its functioning was predicated upon a particular set of notational conventions or laws. The identification of intavolatura as a distinct notational system has been primarily established through a reading of Diruta’s treatise Il Transilvano – our most complete historical source describing intavolatura and the process of intabulating music in it – and through the volumes of keyboard music printed by 16th-century houses such as Gardano, Vincenti, and Verovio. However, not fully examined to this point has been conceptualizations of intavolatura on the part of scribes working on the Italian peninsula, mainly because there hasn’t been a thorough examination of extant intabulations in manuscript. An examination of these intabulations further supports the conceptual framing of intavolatura as a system of conventions – a system that was tacitly understood by scribes as well as printing houses. An investigation into scribal habits further highlights the functioning of intavolatura as a kind of lute tablature for keyboard that used mensural notation in place of figures. At the same time, the use of mensural notation allowed for instances in which scribes use intavolatura as a kind of ‘partitura’, ignoring its conventions and rules in order to show the original voice leading of the polyphonic model. In their very divergence from intavolatura convention these instances further solidify the systematic conception of intavolatura; at the same time, they also show that scribes were aware of the possibility of bypassing the rules for the sake of showing polyphonic detail.

This collection of accompanying materials aims to provide teachers in higher education and professional development contexts with a variety of ideas to integrate the content of the publication "Handbuch Musikvermittlung" into their own teaching and to offer students and practitioners stimulating reflection opportunities.

Physical modeling may be used to simulate the motion of a vibrating string under frictional excitation by a bow. This study compares the measured transient behavior of a bowed string with predictions from a physics-based simulation that assumes a finite-width bow, incorporates bow-hair compliance, considers the string's torsional motion, and utilizes an elasto-plastic friction model. The model is first evaluated by comparing simulated Guettler playability diagrams to a measured diagram obtained from a robot arm bowing a monochord. The playability regions are qualitatively similar, but some significant differences in the underlying waveforms are not captured. In order to improve the reconstructions of individual waveforms, inverse modeling is employed to derive parameter values for the elasto-plastic friction model, demonstrating the ability to generate accurate reconstructions of measured signal transients. The findings highlight the importance of accounting for variable friction coefficients that change with bow force and bow acceleration. This observation is consistent with prior research indicating that static and dynamic friction coefficients vary within a Guettler diagram.

Die vorliegende Sammlung von begleitenden Materialen zielt darauf ab, Lehrenden im Hochschul- und Weiterbildungskontext vielfältige Möglichkeiten aufzuzeigen, wie ein Transfer von Inhalten der Publikation "Handbuch Musikvermittlung" in die eigene Lehre gelingen kann und Impulse für anregende Reflexionsanlässe für Studierende und Praktiker_innen zu bieten.

This study investigates the influence of string properties on bowed string attack playability. To assess the attack playability of different string types, a variety of bow forces and bow accelerations were chosen to excite the strings and measure the transient response under different bowing control parameters. The experimentally obtained playability maps of transient duration as function of bow force and acceleration (Guettler diagram) were obtained with a robotic bowing machine, from four different types of cello G2 strings. Results indicate variations in playability across string types, suggesting that string properties impact attack duration.

Neue Musik konfrontiert uns mit ungewohnten Klängen und zwingt uns so, unser Verhältnis zur Welt zu hinterfragen. Sie rüttelt auf und ist somit immer auch politisch, so die gängige These. Am Beispiel von Helmut Lachenmann, einem der prominentesten Komponisten der Gegenwart, macht Lena Drazic Texte über Neue Musik zur Grundlage einer Diskursanalyse, die deren politischen Versprechungen auf den Grund geht. Daran zeigt sie, dass insbesondere in der Strömung des »Kritischen Komponierens« Werte wie Demokratie, Niederschwelligkeit oder Herrschaftskritik beschworen werden, der Zugang zum Neue-Musik-Betrieb hingegen maßgeblich von Bildungs- und Klassenprivilegien abhängt.