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).
With her recent monograph on Hugo Kauder published in 2018 as part of the series exil.arte-Schriften, musicologist Karin Wagner has given the interested reading public a biography of a composer, music philosopher, and theoretician who was forced to flee National Socialist-ruled Austria.