Following up on Music – Media – History (transcript, Bielefeld 2021), Elias Berner and Matej Santi have now published the second book of the project “Telling Sounds”. While their first publication—based largely on contributions to an international conference held at the mdw in 2019—was released at the project’s outset, the present volume serves as something of a concluding summation.
Judith Kopecky’s investigation of Viennese musical life in 1928 for her dissertation project is an accomplishment of meticulous rigor. Her research focused on that era’s genre of the “concert song” (Konzertlied), under which she subsumed not only works for voice and piano but also Lied-type works accompanied by an instrumental ensemble or orchestra.
In the multi-author volume YouTube and Music. Online Culture and Everyday Life, edited by Holly Rogers, Joana Freitas, and João Francisco Porfírio, various contributors shed light on how record companies, musicians, and users take advantage of YouTube’s potential.
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.
The newly released fourth volume of the Viennese music education-related publication series wiener reihe musikpädagogik revolves around inclusive music-making in all its breadth, covering its practical, pedagogical, and aesthetic dimensions including actual music-making practice.
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.
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.
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.
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.
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).
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