Protest has many faces—and today, as in the past, we encounter it in the most varied ways, be it as traffic interventions intended to call attention to climate change or through those frequent news reports that tell of the courageous demonstrators in Iran and highlight the life-threatening consequences that their acts of protest entail.
The versatile hip hop artist and mdw alumna Ursi Wögerer, a.k.a. Miss BunPun, seeks to use her music to raise awareness of themes like queerness, empowerment, and body positivity/neutrality. As is the case with her current single “Take Me as I Am”, where she once again unites serious themes with positive vibes.
With its 2023 theme of “We and Me”, the international exchange at this year’s isa will focus on the tension between the individual and the collective, between the personal and the communal. isa23 is taking a deeper look at music’s social components.
Long in the illegitimate possession of the KHM and the mdw, restituted in 2019, and now officially back at the Department of Early Music: the 1810 Rosenberger fortepiano.
Die Eroberung des Museums by Ina Roß investigates how the Tribal Museum (founded in 2013) of the City of Bhopal, which lies in the central Indian state of Madhya Pradesh, has been appropriated and also co-determined by its visitors since it opened.
Stephan Pauly, Director of the Gesellschaft der Musikfreunde in Wien, on the common roots shared by his institution and the mdw, the Webern Symphonie Orchester, and jointly developed new concert formats.
As part of the course on Music Mediation/Community Music, itself part of the subject area “Music in Dialogue” at the mdw’s Department of Music Education Research, Music Didactics and Elementary Music Education, this past winter semester saw the project Tschick – ein Held? conducted with inmates at JVA Gerasdorf, a juvenile detention centre in Lower Austria.
In November and December 2022, it was time to continue deepening the ongoing orchestral collaboration between the CNSMDP – Conservatoire National Supérieur de Musique et de Danse de Paris and the mdw – University of Music and Performing Arts Vienna ... this time in Paris.
Last November witnessed the release of Interploitation, this busy artist’s third solo album. Situated entirely within the cosmos of electronic sound, it bears witness to a radical step by an exceptional cellist.
The plot of Olivia Scheucher’s diploma production at the Max Reinhardt Seminar plays out amidst the world of the Austrian Armed Forces—which isn’t an alien environment for this graduate of the drama directing programme.
Stage director and Max Reinhardt seminar professor Anna Maria Krassnigg has loads of experience directing Shakespeare’s plays. But even for this experienced director, putting on Macbeth at the Hanoi Academy of Theatre and Cinema is an adventure.
There are those people to whom, when they speak, we could listen forever—almost no matter what they say; it somehow touches us and sweeps us along. And then there are others whom we can’t follow; sitting in the theatre, we grow restless or can’t quite manage to absorb what they’re declaiming. Why is this so?
“It’s the source of my energy and existence—I wouldn’t ever want to do anything else, not even if I had a thousand options to choose from.” When Ira Süssenbach talks about her work as a stage director, her love of theatre is downright palpable. This fourth-year stage directing student at the Max Reinhardt Seminar spoke with mdw Magazine about her diploma production and how her professional experience in the financial industry is now yielding rewards in her work as an artist.
The #MeToo movement and especially last year’s debates in Austria regarding abuses of power on film sets have shifted a new, previously little-known job description into focus: that of “intimacy coordinator” (IC), for which EU-recognised training now exists.
The twelfth edition of the Seoul International Extreme-Short Image & Film Festival (SESIFF) has sent out its invitations, and among their recipients is a six-person film delegation from Vienna. The reason is 130 years of diplomatic relations between the two countries and the festival’s “Austria Focus” in 2022. Several short films from Film Academy Vienna (including Bato Nebo, Echthaar, and Fische) are to be screened as their own block, a master class with director Magdalena Chmielewska (Lullaby) is scheduled, and The Best Orchestra in the World will be shown as part of the opening event.
Since 2015, EFP – European Film Promotion has been introducing ten outstanding young directors along with their current films in the Future Frames section of each year’s Karlovy Vary International Film Festival. Several Film Academy Vienna students having been represented there over the past few years, and this year once again saw a film make it into the official selection: Magdalena Chmielewska presented her Max Ophüls Prize-winning film Lullaby at the festival, and she spoke with mdw Magazin about the significance of such a film festival invitation and why she’s always thinking about her next project.
When actors, directors, and producers meet, casting calls are frequently the reason. As was the case this time—with one difference: to ring in the new year, Avia Seeliger met with Ercan Karaçayli, Daniel Holzberg, and Lena Weiss to discuss the phenomenon of typecasting.
At the Comprehensive Center for Pediatrics (CCP) of the Medical University of Vienna (MedUni Wien)/Vienna General Hospital (AKH), which employs a network of experts specialised in pregnant individuals, children, and adolescents, it has proven possible to establish a music-making workshop with a focus on instrumental education as part of the hospital’s school for young long-term patients.
“External science communication” refers to the practice of communicating and lending visibility to research results, protagonists of academic life, and entire research disciplines for the benefit of non-academic audiences of all ages.
What’s the present-day significance of music-related commemorative work? And just how might one familiarise people with “ostracised music” in the absence of contemporary witnesses? On these topics, Priska Seidl spoke with Volker Ahmels and Gerold Gruber at the Festival Verfemte Musik [Festival of Ostracised Music] in Schwerin.
It was to this fragment, hitherto viewed as being of secondary importance in research on Adorno, that the initiators of the international D-A-CH project “Writing Music. Iconic, performative, operative and material aspects in musical notation(s)” devoted the 2019 conference “Music, Writing, Difference – An Interdisciplinary Conference on Adorno’s Theory of Musical Reproduction”, which was held at the Arnold Schönberg Center in Vienna.
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