Based on our experience conducting our own independent artistic-scientific and practice-based research projects and the experiences made over the last years leading the Doctoral Programme for Artistic Research at the University of Applied Arts and now working at ARC Artistic Research Center and their Doctor Artium programme, at mdw University of Music and Performing Arts Vienna, we propose new and unconventional approaches to supervising and supporting doctoral artistic research work, whether their focus is more practice-based, theory-oriented or artistic-scientific. Design approaches, such as the pooling of supervision and strategically introducing moments of epistemic decompression, can support projects as well as candidates in a more sustainable and pluri-vocal manner, ultimately leading to the artist-researchers’ long-term independence, transcultural versatility and well-being. Reflexivity, methodology, and (somatic) learning theory are key points, as well as defining and conceptualising possibilities for supporting and supervising a line of work, which is directed into the unknown, unknowable, and uncertain, or located within limit-experiences. Open Access: https://doi.org/10.22501/ruu.3265756

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

This article examines digital dance, not in opposition to physical bodies but in material continuity with them. By offering an expansive notion of ‘presence’ in dance, we intend to supersede the binarism that condemns the digital as mere traces of the ‘real’ or as a blunt synonym for the ‘virtual’ and the ‘immaterial’. We depart from a historical overview of attempts to capture bodily creativity into mediated forms according to the values of each epoch. Thus, considering the current moment of dance digitalisation immersed in the information society, we formulate our argument by discussing how presence and virtuality transcend within the attempts to digitalise dance. Later, we address how, although transformed, the material dimension of the body persists through its digital capturing. In the last section, we address the relational ontologies that the digitalisation of dance can unleash in diverse cultural contexts, as dance-data regains its virtuality.

This editorial discusses selected aspects of Music & Minorities’ (M&M) policy on “Authorship, Contributorship, and Artificial Intelligence,” providing background on the rationale behind the policy and situating the discussion within the broader contexts of music and minority studies, ethnomusicology, related disciplines, such as social and cultural anthropology, and academic publishing. The focus is on authorship criteria. After explaining why authorship criteria are an important issue and deserve closer attention in music and minority studies and ethnomusicology in general, the editorial discusses the specific set of criteria issued by the International Committee of Medical Journal Editors (ICMJE). The ICMJE criteria are among the most widely used authorship criteria in academic publishing, if not the most widely used. Thanks to their adoption (or adaptation) by major publishing corporations, these criteria have spread to disciplines far beyond their original domain of medical publishing, including ethnomusicology. In line with this consensus, M&M’s authorship criteria are derived from the ICMJE criteria and adapted to suit the scholarly practices of the journal’s specific field. Based on the discussion of the standard ICMJE criteria, three aspects of M&M’s policy are addressed in more detail: the general authorship criteria, non-author contributorship, and the special provisions for co-authorship by non-academic research partners.

In the history of the translation of Italian opera into other languages, especially German, singable translations adapted to the original music are rare in the 17th century, both because of the lack of experience in such a complex translation process and the rare circulation of operatic manuscript scores. A very interesting case study are the operas composed by Agostino Steffani for the court of Hanover, which were translated into German a few years later in Hamburg and other German cities. In particular, this article focuses on the opera La libertà contenta (1693), whose translation by Gottlieb Fiedler shows an absolutely pioneering approach for its time, especially with regard to the translation of the recitatives and the respect of the parameters of singability in the arias.

As both gender and exile music research deal with ruptures in biographies and a scatteredness of remaining sources, women musicians affected by escape and exile are often confronted with a double erasure from music history. An example is Felice Wolmut—singer, composer, music therapist and pedagogue—whose estate lies scattered across various archives and whose story and musical creations remain unpublished to this day. Her ego documents draw a fascinating image of an intellectual musician, born in the Vienna of the Fien de Siecle, socialised in Red Vienna, who escaped Nazi Vienna and started a completely new life in exile in the USA. The sources offer insights into Wolmut's views on the artistic and political developments of the time and on the violent, patriarchal societies she was part of. Her autobiography, written in the late 1970s, reveals just as much about the 80-year-old narrating Wolmut as it does about the younger, narrated Wolmut. This article is based on a critical assessment of the sources, asking how they can help construct the historical figure ‘Felice Wolmut’, a woman and a musician whose voice has historiographically been (made) forgotten.

In order to accurately model the bow-string interaction, a friction model is necessary that will correctly predict the friction force during stick-slip phases. This force has been estimated from experimental measurements. It appears to be at its highest at the start of slipping, and it decreases as the slipping speed increases. On the way back towards the sticking phase, the force is lower than on the way towards the slipping phase. It has been hypothesized that the temperature fluctuations of rosin are responsible for this hysteretic behaviour [Smith, J. and Woodhouse, J., The tribology of rosin. J. Mech. Phys. Solids, 48(8), 2000]. In this work, a model is proposed that directly incorporates the temperature changes of rosin during bowing. It is shown that the friction force resembles the one estimated from the measurements.

tina and Malik are excited to be invited to talk about their music project Circle A at a practice-based research symposium on music, sounds, and the political. They founded Circle A in 2014 as the first Radical Eurodance act ever, with the self-declared mission of “making Eurodance a threat again” and framing it as “a four-to-the-floor declaration of war against any kind of injustice and oppression that haunts the world we live in.” Over the past few years, they have only occasionally performed or recorded, due to their time being taken up by kids, other bands, and a pandemic. In early 2024, they meet over a beer to revisit their joint work and think about the topics they would like to discuss at the symposium. They reminisce about when, how, and why they founded Circle A; how the band and its music developed; what the future may hold for it; how and to what ends they mixed Eurodance and politics; and what all of this has to do with their shared background in musicology. In the process, tina and Malik also engage in discussions about fundamental questions regarding the relationship between music and the political, such as: What makes music political? Who are the audiences of political music, and how do they influence musicians’ practices? What are criteria for deciding whether a piece of political music is “good,” or maybe rather: “successful”? Can (political) music change the world? If so, how and to what extent? How can the seriousness of social struggles be squared with humorous modes of artistic expression? – As the conversation unfolds, tina and Malik switch back and forth between spoken language and song. In the end, they fail to produce notes for their symposium presentation, but they certainly enjoyed the intellectually stimulating – and sometimes controversial – exchange.

Despite the increasing digitization of music scholarship, historical musicology has been slow to adopt hybrid or multimodal approaches to research dissemination. This paper presents Accompaniment in America, a hybrid digital and print publication that bridges this gap by integrating traditional musicological scholarship with an open-access, minimal computing digital collection. The project – comprising a mini-monograph and a multifaceted digital companion – examines the institutionalization of collaborative piano in North America while demonstrating how lightweight, sustainable digital frameworks can enhance humanities research and publication without alienating traditional scholars or requiring extensive institutional resources. The collection, built by a team of two, leverages open-source tools (GitHub, Zenodo), hosts archival materials, interactive visualizations, and pedagogical resources, and adheres to FAIR principles (Findable, Accessible, Interoperable, Reusable). Designed for longevity and low technical and financial overhead, it serves as both a living archive and a model for minimal computing in musicology, addressing challenges of accessibility, copyright, and resource limitations. By pairing QR codes in the print edition with hyperlinked digital content, the project fosters engagement across analog and digital scholarly ecosystems. We argue that such minimal computing approaches can both enrich traditional musicological dissemination and democratize access to data and digitized archival material while preserving the comfort levels and preferences of traditional music scholars. The paper concludes with reflections on the key technical and legal challenges of small-scale hybrid publishing, including copyright barriers and the need for interdisciplinary collaboration. This small case study, while modest, offers actionable insights for scholars, computer scientists, librarians, and archivists seeking to integrate digital libraries into cultural heritage projects with limited budgets and infrastructure.