30 years of folk music studies and study programs at the University Mozarteum: Together with the Lucerne School of Music, teachers and students of the University Mozarteum go on a search for traces between yodel and yodel, tradition and new trends.
30 years of folk music studies and study programs at the University Mozarteum: Together with the Lucerne School of Music, teachers and students of the University Mozarteum go on a search for traces between yodel and yodel, tradition and new trends.
Since the 2016/2017 academic year, the Mozarteum University has been awarding the "Prize for Excellent Master's Theses", which recognizes outstanding theses by graduates who address their chosen topics in an innovative, original, unusual or particularly sustainably relevant way.
The European research project "Schools@Concerts - Tuning up for the music experience", which is anchored at the University Mozarteum Salzburg, focuses on cooperations between schools and concert organizers and researches them from different perspectives through a multiple case study.
An autograph from the hand of Joseph Mohr, written around 1820, is the oldest surviving autograph of a carol which, starting in Oberndorf, quickly spread throughout the 'old' and 'new' world. Silent Night" is a song that - translated into many languages - has become an integral part of the Christmas message of peace. To what extent can a 100-year-old song appeal to young people today and become an impulse for creative work? Pupils of the BORG Oberndorf and the BORG-Gastein are invited to deal imaginatively with the topics opened up by the song and to reflect on and evaluate the products of their work together.
Students of the 7A class of the BORG-Nonntal will create a music-theatrical performance of the improvisational-experimental score Individuum↔Collectivum (1979) by the composer Vinko Globokar. How can experimental-improvisational artistic interactions be described as aesthetic and social phenomena? Which methods prove to be particularly suitable for this purpose and what conclusions can be drawn in order to specifically promote aesthetic competences in music lessons?