Even if the field of cultural management—to which Cultural Institutions Studies as developed in Vienna belongs—is a relatively young field of study, there do exist a number of introductions to it that are intended for use in academic teaching.
On September 8, 2020, Europe’s largest refugee camp—Moria, situated on the Greek island of Lesbos and known as a “living hell”—was set afire. The continuous three-day blaze ultimately left the camp completely destroyed and 13,000 people in utter destitution.
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.
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