Be it a concert for hospitalised cancer patients, a neighbourhood forum in a newly developed residential area, or making music together in a park: community outreach can take on all kinds of shapes.

On 25 February, mdw conducting students participated in a master class on Beethoven’s 5th Symphony at the Vienna Konzerthaus given by Andrés Orozco-Estrada together with the Vienna Symphony.

This versatile artist gathered her initial experiences with community outreach during a voluntary social year in Costa Rica. And by now, she can look back upon numerous successful projects—like developing the All Stars Inclusive Band (the mdw’s first inclusive ensemble) and assuming musical direction of the Wiener Festwochen festival opener.

The theme of this multiauthor volume, which presents lectures from the 29th Annual Conference of the German Society for Popular Music Studies, hits a socio-political nerve for more reasons than just the increasingly nation-centred coronavirus mitigation strategies.

In music acoustics, the process by which player actions affect the acoustics of an instrument is known as “player-instrument interaction”, which is a research topic that has been investigated in connection with a broad variety of instruments. In single-reed woodwind instruments such as the clarinet and saxophone, sound is produced by the vibration of a single reed attached to a mouthpiece.

Stage director Wojtek Klemm has joined forces with third-year acting students of the Max Reinhardt Seminar to develop a play about showbusiness itself. Killing of Silent Hopes casts its gaze on the trials and tribulations of life as an actor/actress.

Richard Strauss’s opera Ariadne auf Naxos is the ideal material for a project that aims to interlace the numerous departments of the mdw – University of Music and Performing Arts Vienna. Participants explain just why that is so in a conversation with mdw Magazine.

What kinds of works written for the piano are well suited to helping young players discover the world of contemporary music? What are the technical boundaries within which one can compose innovative piano pieces of pedagogical value that are realisable in lessons and still embody convincing compositions in their own right?

And for around 20 years, now, we’ve used the terms “applied” or “engaged ethnomusicology” to also imply “outreach”. It has hence long been a central point in ethnomusicology (rather than being a recent development, like in other disciplines) to ensure that research has a reciprocal impact on society—an impact that, in turn, flows once again into research findings.