This article offers an empirically based description and analysis of the social situation of musicians living and working in Austria whose activities include engagement in cultural and art mediation. The quantitative-empirical data confirms existing findings on the portfolio careers of musicians today: the vast majority of the musicians surveyed are en-gaged in a mix of activities (sometimes close to, sometimes distant from their artistic practice) in their everyday life as “artrepreneurs”, as a way to make their living in a chal-lenging, neoliberalised working environment. Not only the range of their professional activities along real-time, ideal-time and economic dimensions are addressed, but also forms of employment, educational background, average annual net income and stress levels in the music profession. These musicians are compared with another group of mu-sicians from the same data sample who were not active in cultural and art mediation at the time of the survey. In their interrelation, the results show how the handling of a pref-erably broad mix of activities and skills is rewarded in the musical field in economic terms, although the social situation nevertheless remains fundamentally difficult and precarious for many of the respondents. Finally, the extent to which practices of cultural and art mediation may contribute to the emergence of a new, socially and civically en-gaged type of musician of the future is discussed.

E-LAUTE (Electronic Linked Annotated Unified Tablature Edition) is a research project establishing an open-access, comprehensive, interactive edition of music in lute tablature from the German-speaking area 1450–1550. Though formerly well-known and widely performed, these pieces have become inaccessible to scholars, musicians, and the general public due to their unwieldy, complex notation, and because sources are scattered throughout Central Europe. E-LAUTE is sustainably digitising this important part of European cultural heritage as machine-readable music encodings, unlocked for a contemporary audience through transliteration into currently understood (Italian and French) lute tablature, and transcription into common Western music notation. We introduce the aims and structure of our project and its five interdisciplinary pilot studies; survey current research, drawing on musicology and music informatics; detail the encoding formats and workflows we are applying to establish our edition as a collaborative, digital space for inter- and trans-disciplinary as well as discipline-specific work, supporting interaction and contribution by project members and project-external recipients; sketch the underlying data infrastructure, adopting and extending the Austrian National Library's digital editions platform; and conclude with an outlook over the project's anticipated nine-year span from its current early vantage point, outlining limitations, open questions, and implications for the future of digital editions.

Music has long been at the forefront of social activism and some genres have built their global reputation as a weapon of resistance and empowerment. When these genres spread into a country like China and gain considerable popularity, the world celebrates the decline of the authoritarian system and sees them as threats to ideological hegemony. However, centralized control of musical activities is more than manufacturing standardized propaganda products. In mainland China, the system also operates to generate “out of control” phenomena, to channel people’s desires to act beyond restrictions. This article focuses on the rise of Chinese rock, a happening that has been interpreted in the existing body of scholarly literature as successful rebellion and as indicating the democratic nature of China’s popular music culture. After a reflexive discussion on the limits of prevalent data-collection methods in the study of Chinese popular music, this article reveals the state’s leading role in the promotion of Cui Jian, who is globally renowned as the Father of Chinese Rock. This article challenges a prevalent understanding in the existing body of literature on Chinese popular music, that is, Cui Jian and his rock songs were subversive and banned in the 1980s. It examines how a state-led music reform was turned into the people's choice and into the outcome of a successful rebellion.

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.