Participatory research is an increasingly popular research approach in music therapy. It allows diverse perspectives to be included in the research process thereby affording agency to all participants. Yet, it is challenging to involve various actors at all stages of a research project, including dissemination. In the My Tune project we used a co-creative approach, where young people, music therapists, and caregivers were involved as coresearchers. Within the project we developed a tool for reflecting on music therapy processes from the clients’ perspectives. At the end of the project, we strived to find a way of involving as many participants as possible in the composition of a common article. Two group discussions were held, where project participants conjointly reviewed the My Tune project. In the qualitative analysis of these discussions, key topics were identified, such as motivations, conditions for success, challenges, lessons learned, personal benefits, and characteristics of participatory research. These findings reflect the experiences of the participatory collaboration from diverse perspectives. They give an insight into the research process and refer to the resulting My Tune tool, offering important impulses for future participatory research. Partizipative Forschung gewinnt in der Musiktherapie zunehmend an Bedeutung. Sie ermöglicht die Einbindung verschiedener Perspektiven und gesteht dabei allen Teilnehmenden Handlungsmacht zu. Es ist jedoch herausfordernd, verschiedene Akteur:innen in allen Phasen eines Forschungsprozesses einzubinden – auch in der Dissemination und Verbreitung der Ergebnisse. Im Projekt My Tune nutzten wir einen cokreativen Ansatz, bei dem junge Menschen, Musiktherapeut:innen und Bezugspersonen als Co-Forschende eingebunden waren. Gemeinsam entwickelten wir ein Tool zur Reflexion von Musiktherapieprozessen aus Klient:innenperspektive. Als zu Projektende ein Artikel verfasst werden sollte, suchten wir einen Weg, um die Mitarbeit so vieler Teilnehmender wie möglich zu gewährleisten: Wir führten zwei Gruppendiskussionen durch, in dem Teilnehmende gemeinsam den Projektverlauf reflektierten. In der qualitativen Analyse dieser Diskussionen wurden zentrale Themen identifiziert, wie etwa Motivationen, Gelingensbedingungen, Herausforderungen, Lehren aus weniger Gelungenem, persönliches Profitieren von der Mitarbeit und Merkmale partizipativer Forschung. Die Ergebnisse spiegeln die Erfahrung der kollaborativen Mitarbeit aus unterschiedlichen Perspektiven wider, geben Einblick in den Forschungsprozess und beziehen sich auch auf das My Tune-Tool. So liefern sie wichtige Impulse für zukünftige partizipative Forschung.

Research on entrepreneurial ecosystems has seen significant growth in the last decade, with a focus on the key elements of entrepreneurial ecosystem (EE) structure, stakeholders, and interactions between them. However, the literature linking these three elements within the entrepreneurial ecosystem has yet to reach a consensus regarding how interactions between stakeholders occur within the ecosystem and beyond. We apply the jazz jam session model used by jazz musicians for improvisation to demonstrate that within a given structure of improvisation, stakeholders may improve their level and intensity of engagement, increasing the quality of the entire entrepreneurial ecosystem. The jazz jam session model explains how and why the interactions can matter and how to organize them effectively between stakeholders.

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.

Die planetare Katastrophe ist eines der Schlüsselprobleme unserer Zeit, das ökologisierende Interventionen erfordert. Der Ausgangspunkt des Beitrags ist die These, dass die unhinterfragten Denkvoraussetzungen, auf denen sowohl die erziehungswissenschaftliche Theoriebildung als auch die pädagogische Praxis beruhen, selbst zum Gegenstand der Kritik gemacht werden müssten. Wie können wir mit der Unvermeidbarkeit und Dringlichkeit der Probleme aus erziehungs- und bildungstheoretischer Sicht umgehen? Was wären die Voraussetzungen dafür, anders zu handeln und Generationengerechtigkeit miteinzubeziehen? Wie lassen sich Beziehungen zur Erde und zu menschlichen und mehr-als-menschlichen Mitwesen neu denken? Wir schlagen vor, Erziehung und Bildung radikal relational – als Existieren-mit – zu denken: Mit anderen Generationen und mit dem lebendigen Gefüge, das diesen Planeten bewohnt.

This study experimentally assesses the influence of cello string types on playability and tonal characteristics using a robotic bowing device and a custom monochord setup. Eight custom-made G2 cello strings, each defined by unique combinations of core materials, windings, and nominal tensions, were systematically tested. High-resolution Schelleng diagrams were constructed from steady-state signals across various bow forces, bow-bridge distances, and bow speeds. Analyses included bow force limits, spectral centroid, pitch flattening, and anomalous low frequencies. Results revealed similar regions of Helmholtz motion, with deviations from Schelleng's classical theory aligning with recent research. Pitch flattening occurred mainly at high bow forces and lower bow speeds, with deviations up to 60 cents below nominal pitch, while spectral centroid analysis highlighted a significant correlation between bending stiffness and perceived tonal brightness. Minimal within-type variability was noted; however, tonal deviations due to string settling were substantial, underscoring the importance of play-in periods. Although playability differences across tension groups were minor, tonal descriptors, notably spectral centroid, displayed clearer sensitivity to material composition. Future studies should explore broader string variations and detailed harmonic content to enhance statistical robustness and generalizability. This research was funded in whole or in part by the Austrian Science Fund (FWF) [P34852-N].

In recent decades, social and economic changes have brought about a growing awareness of the role of art and culture in society. As a result, scholars have turned their attention to a sociological view of arts, developing hermeneutic approaches and conducting empirical research that have led to a wealth of insights into the organization of arts. These studies of the creation, production, distribution, evaluation and consumption of arts are clearly sociological, but they include approaches from other disciplines, notably arts management studies and cultural policy research. Volker Kirchberg and Tasos Zembylas critically discuss seven major theories of the social organization of arts in Western societies, with the aim of encouraging further research and theoretical developments.