This book brings together research at the intersection of music, cultural industries, management, antiracist politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. Providing insights into labour processes and practices, the authors investigate the changing role of manifold actors, institutions and technologies and the corresponding shifts in the valuation and evaluation of music achievements that have shaped the relationship between music, labour, the economy and politics. With research into a variety of geographic regions, chapters shed light on the various ways by which musicians’ work is performed, constructed and managed at different times and show that musicians’ working practices have been marked by precarity, insecurity and short-term contracts long before capitalism invited everybody to ‘be creative’. In doing so, they specifically examine the dynamics in music professions and educational institutions, as well as gatekeepers and mechanisms of inclusion and exclusion. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives 4.0 license.

Im Jahr 1959 wurde der „Sonderlehrgang für Musikheilkunde“ als erste akademische Musiktherapie-Ausbildung Europas an der heutigen mdw – Universität für Musik und darstellende Kunst Wien eingerichtet. Das vorliegende Buchkapitel rückt die institutionelle Zusammenarbeit mit drei Wiener Kliniken – „Klinik Hoff“, „Rosenhügel“ und „Stein- hof“ –, an denen die ersten musiktherapeutischen Praktika stattfanden, in den Fokus. Insbesondere werden die Rollen und die Bedeutung von Otto Hartmann, Hans Hoff, Andreas Rett, Erwin Ringel, Raoul Schindler und Wilhelm Solms-Rödelheim als Wegbe- reiter für die Etablierung und Theoriebildung der Wiener Schule der Musiktherapie be- leuchtet.

Musikvermittlung wurde in den letzten zweieinhalb Jahrzehnten zu einem wesentlichen Bestandteil des Berufsbildes von klassisch ausgebildeten Musiker_innen. Aus- und Weiterbildungsangebote zur Mitwirkung an Schulworkshops und Community-Projekten oder zur Planung neuer Konzertformate existieren bis dato jedoch nicht in entsprechendem Ausmaß. Axel Petri-Preis analysiert die individuellen Lernwege von Musiker_innen und zeigt, wie sie sich in überwiegend informellen Kontexten Wissen im Bereich der Musikvermittlung aneignen. Davon ausgehend formuliert er Empfehlungen, wie Hochschulen und Musikinstitutionen Musiker_innen auf diese Tätigkeit vorbereiten können.

Professional musicians who perform in hospitals, retirement homes and prisons, creatively stimulated by the residents; babies crawling over exercise mats, enjoying classical music together with their parents; concert-goers who take their seats between the musicians in order to experience music up close with all their senses – the opportunities to make and experience music are almost unlimited. Various actors in the field of classical music have taken this as a chance to develop a wide range of new artistic and educational practices over the last two decades, aiming to facilitate in-depth aesthetic experiences, to diversify and bond with audiences and to encourage active cultural participation. The contributors focus on the innovative potential of Musikvermittlung as a social bridge-builder for concert life, (higher) music education, research and social life.

An implicit assumption in musicology is that musicological thought influences/informs musical practitioners. Through a series of qualitative interviews with performance and musicology faculty in combination with contextualizing structural information, the authors explored to what extent the two fields in their current state intermingle, and how, where and to what extent advances in musicological thought are being transmitted to performance students in tertiary education settings. Four test case study institutions in North America and four in Germany and Austria were selected. The hypothesis that little meaningful interaction existed between performance and musicology faculty and students in terms of shared understanding/work/thought was largely confirmed.

Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades brings together the reflections of more than one hundred scholars from different parts of the world on the history, current dynamics, and perspectives of the association, known until 1980 as the International Folk Music Council. The essays are based on insights gained through the study of historical sources and archival materials, combined in many cases with the authors' personal experiences and their internalized writing on individual thematic sets. The book, divided into sections on the origins and operations of the association, its governance, scholarly events, study groups, publications, and accumulated knowledge, as well as the views of individual members, presents in a systematic and comprehensive manner the first seven decades of the existence of this leading international organization of ethnomusicologists and ethnochoreologists. It is by far the most ambitious publication on the history of the association and its place in the academic and sociopolitical context of music and dance studies on a global scale.

In this article, I discuss ethnomusicological takes on refugees and forced migration relating to five years of fieldwork within the Afghan community in Vienna. Against the background of the recent surge in ethnomusicological studies on forced migration, I critically interrogate my own positionality in relation to the coloniality of asylum that inherently racializes relations between researchers and refugees in ethnographic work. I then review narratives of “crises” and effects of “borders” in relation to migration between Afghanistan and Europe, specifically Austria. In the article’s main section, various scenarios of Afghan musical practice in Vienna are outlined while offering insights into the musical worlds of the city’s Afghan diaspora both regarding online and offline settings. I approach music as an everyday practice with a perspective strongly shaped by my friendship with Qais Behbood and Bahram Ajezyar. I then specifically discuss Afghan pop music, presenting two Vienna-based singers, Dawood Sarkhosh and Masih Shadab, referring to song examples. Concludingly, I address relationships, partnerships and friendships in ethnographic fieldwork on forced migration. I contrast friendship with the coloniality of asylum-related research on music and dance and suggest friendship and affection as an ethnographic mode.

Within the ever-expanding field of ethnomusicological research in contexts marked by socio-political, financial, and environmental crisis, a newly emerging area of study has been that of music in contexts of forced migration. This article explores the groundbreaking contribution of one of the pioneering figures in ethnomusicological research in that field: Adelaida Reyes. The article’s goal is to encapsulate a framework that could be adopted and adapted by, and inspire new researchers on music and forced migration. After an introduction to the personal background of Adelaida Reyes, the article discusses three main positions that permeate her inaugural research in urban contexts, particularly that of New York. These are the interdisciplinary conceptualization of the socio-political context; the study of music of groups of people without essentialist preconceptions, and the adjustment of fieldwork methods to correspond to theoretical concerns and the empirical reality. The article then proceeds to link Reyes’ core thoughts with the particular innovative theoretical and methodological concepts she applied in her multi-sited research with Vietnamese refugees in the U.S. and in refugee camps in the Philippines, as well as in her research with refugees from South Sudan in Uganda. Informed by anthropological refugee studies, her pioneering approach perceives forced migration as a unified experience and context, consisting of pre-departure features, departure-related, and finally, those related to resettlement. Musical meaning then becomes intensively transforming and dependent on a plethora of factors. On the one hand, as Reyes' ethnomusicological research in urban settings had pointed out, there was complexity, heterogeneity, and blurred boundaries, and on the other, emerging in particular experiences of forced migration, there was psychological distress; processes of institutional labeling; living in refugee camps; asymmetrical power relations between refugees and the larger society; and the emotional and political relationship with the past homeland. In the conclusion of the article, Reyes’ priceless contribution is discussed alongside recent ethnomusicological research on music and forced migration.