Three podcasts created as part of the project Klingende Zeitgeschichte [Audible Contemporary History] take on the topic of institutional discontinuities at the mdw and its institutional predecessors. To create them, individuals all across the University worked to acoustically stage “peripheral stories” from the 20th century, efforts that have since made it possible to hear the archival documents themselves on multiple musical and linguistic levels.
This publication, prepared by editors Sarah Chaker (IMS) and Axel Petri-Preis (IMP) on the basis of an mdw lecture series, offers a conglomerate of theory and practice pertaining to the innovative potential of those community and audience engagement-related artistic and educational practices that are known collectively as Musikvermittlung.
From 23 to 25 June, the mdw hosted the conference Facing_Drag with renowned international guests from various fields of cultural studies and from the performing arts, continuing where last year’s online conference left off.
In everyday life, notions of supposed “parallel worlds” and “parallel societies”, of imagined social niches and bubbles that are (supposedly) moving apart and frequently considered irreconcilable, are widespread. In the realm of popular music practice (in general) and in popular music studies (in particular), such constructions can also be observed on the most varied levels
This rich collection of essays, many of them incubated in the forum of the annual isaScience conference of the mdw, is essential (and open-access) reading.
To mark the hundredth birthday of the Greek-French composer Iannis Xenakis, the mdw’s Department of Musicology and Performance Studies (IMI) and Special University Programme in Electroacoustic and Experimental Music (ELAK) have teamed up with the festival Wiener Festwochen to organise a symposium on Xenakis’s electroacoustic oeuvre that is scheduled to take place from 19 to 21 May 2022.
The MMRC lecture is an annual event of the Music and Minorities Research Center (MMRC). Due to the hybrid format in which this year’s event was held, the audience was able to participate both in the mdw’s Joseph Haydn-Saal and online via Zoom.
For those who’ve thus far heard music by Orlando di Lasso performed mainly as a cappella “vocal music”, Bernhard Rainer’s book presents an opportunity to discover some new aspects—such as how Lasso effectively staged music via its arrangement, instrumentation, and richly varied performance.
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