Just recently, the mdw saw the establishment of “Voice Science” as a subject area in its own right with its own new career position. And this semester, three mdw students have commenced their scientific doctoral studies in the field.

How does the music education field deal with socio-political shifts, culturally relevant re-assessments of value, debates on norms, and new qualities?

Who doesn’t know them: Marta Eggerth and Jan Kiepura, the dream-couple of movies, opera, and operetta, the superstars of the mid-20th century. Their voices enthralled the masses, interwove multiple genres, and converted people to opera and operetta in an era where both were thought to have long been on their last legs.

50 years ago, on 21 January 1970, Austria’s parliament passed the Universities of the Arts Organisation Act (KHOG), which accorded university-level status to the Academies of Music and Performing Arts in Graz, Salzburg, and Vienna as well as to the Academy of Applied Arts Vienna as Hochschulen.

The thinking of French philosopher and musicologist Vladimir Jankélévitch has been known to German-speaking readers since 2016 thanks to a formidable translation of his 1961 tract La Musique et l’Ineffable (Music and the Ineffable).

A conversation about artistic research with South African filmmaker Jyoti Mistry.

Writing about writing is a paradoxical act—seeing as it involves articulating oneself using the very tool that one is attempting to describe.

Austrian musicologist Gerold W. Gruber is the founder and head of the mdw’s exil.arte Centre. exil.arte functions as a point of contact and interface for research on as well as the reception, preservation, and presentation of works by Austrian composers, musicians, and music researchers who were deemed “degenerate” by the Third Reich.