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Organisation … Home About us Organisation Arbitration Committee Arbitration Committee The duties of the Arbitration Committee include mediating in disputes between members of the University. In fulfilling its tasks, the arbitration committee works towards reaching an agreement between the parties involved. Pursuant to § 43 UG, all bodies and members of the university are obliged to provide the members of the arbitration committee with information on the matter and to participate in contact discussions. Contact klaudia.gruendl@moz.ac.at 0664 222 56 59 The members of the arbitration committee shall not be bound by any instructions or orders in the exercise of this function. Matters subject to legal proceedings and performance appraisals do not fall within the competence of the Arbitration Committee. It is therefore not called upon to intervene, for example, in matters of university law (according to the UG 2002 and the statutes of the Mozarteum University), habilitation or service law proceedings. Furthermore, the Arbitration Committee is tasked with adjudicating on complaints of the Working Group for Equal Treatment Issues regarding discrimination on the basis of gender by the decision of a university body. If no agreement can be reached between the parties involved, the Arbitration Committee shall decide in certain cases (establishment, substantial change or termination of an employment or training relationship) by means of an official decision. The legal opinion of the arbitration committee is binding on the university body responsible for the personnel decision; however, both the equal opportunities working group and the university body concerned can lodge an appeal against the decision with the Administrative Court. The contact point for applications to the Arbitration Committee is the office of the Arbitration Committee (Schrannengasse 10a). Applications must be submitted in writing and must contain detailed reasons. Students can obtain support and advice on formulating their request and filing an application from the legal department of the Students' Union. Chair: Mag.a Gertraud Steinkogler-Wurzinger Deputy Chair: Dr. Thomas Bodmer Other members: Mag.a iur. Johanna Fellinger Dr.iur Helmut Hüttinger Albert Weilguny Mag.a Alexandra Schmidt Substitute members: A.o. Univ.-Prof. i.R. Dr. iur. Gerhard Pirklbauer Mag.a Hildegard Schreckeis-Nägele Univ.-Prof.in Dr.in Monika Oebelsberger Univ.-Prof. Dr. John Thomasson Dr. Martin Gaisberger Dr.in Ursula Maier-Rabler

Organisation … Home About us Organisation Equal Opportunities Task Force Equal Opportunities Task Force © Arbeit von Ella Hölldampf / Foto: Michael Klimt Skip page navigation Overview Kontakt Return to slider start The Equal Opportunities Task Force is a collegial body established by the Senate in accordance with the Universities Act 2002. Its duties and rights arising from the legal basis of the Universities Act and the Federal Equal Treatment Act are exercised by the individual Task Force members or by the Task Force as a body. ChairRobert Schröterrobert.schroeter@moz.ac.at Deputy ChairKatharina Rössnerkatharina.roessner@moz.ac.at OfficeDaniela Leitner+43 676 88122 436akg@moz.ac.at Wo werden an der Universität Menschen diskriminiert? In welchen Bereichen sind Männer deutlich in der Überzahl? Welche Maßnahmen stärken Chancengleichheit und Gleichbehandlung? Dies sind einige der Fragestellungen, mit denen sich der Arbeitskreis für Gleichbehandlungsfragen (AKG) auseinandersetzt. Er ist Teil der Unterstützungsstrukturen der Universität. Aims The chief objectives of the task force are as follows: Creating a positive, appreciative and non-discriminatory working environment Conducting fair and transparent recruitment procedures Promiting equality between women and men Implementation of the women's advancement plan in cooperation with the Institute for Equality and Gender Studies Use of gender-sensitive language Measures The objectives listed above determine the work to be carried out by the task force Raising awareness to promote a positive working environment. Intervene against discriminatory actions and behaviour based on gender, ethnicity, religion or belief, age, sexual orientation. Working towards gender-equitable use of language. Confidential counselling in cases of sexual and other harassment. Mediation in cases of unequal pay. Exercising rights to information, participation and monitoring rights in staffing, admission and appointment procedures. Reviewing the gender split in the composition of university collegial bodies, in accordance with legal requirements. Collaboration in the implementation of gender equality measures and participation in the development of new strategies to reconcile university work and family life. Networking with internal and inter-university institutions. Use of further training offers on the essential concerns of the areas of responsibility. Links & Downloads Equal Opportunities Task Force - Information leaflet Information on dealing with sexual harassment: Booklet „Grenzen erkennen – benennen – setzen“ Statues - Task Force for Equal Opportunities Statutes - Equality Plan Statutes - Advancement of Women Code of Conduct Guidelines for the use of gender and diversity-sensitive language Members Skip slider Robert Schröter Robert Schröter Senior Lecturer Faculty AKG Katharina Rössner Katharina Rössner Univ.-Prof. for Voice and Vocal Pedagogy (Music Education) Deputy Department Head Faculty AKG Andreas Bernhofer Andreas Bernhofer Univ.-Prof. of Music Pedagogy/Music Didactics Deputy Department Head Faculty AKG BR 1 Curriculum Committee Magdalena Elisabeth Croll Magdalena Elisabeth Croll Senior Artist in the Artistic Administration Office Faculty Employee AKG Rosemarie Demelmair Rosemarie Demelmair Univ.-Ass. for Music Education Faculty AKG Emma Ebmeyer Substitute member AKG Wolfgang Gratzer Wolfgang Gratzer A.o. Univ.-Prof. of Musicology Faculty Curriculum Committee AKG Gunda Gruber Gunda Gruber Senior Lecturer in Painting / Art and Visual Practise Faculty AKG Sarah Haslinger Sarah Haslinger Senior Scientist Faculty Employee BR 1 AKG Isabella Heigl Lecturer Employee AKG Eung-Gu Kim Eung-Gu Kim Univ.-Prof. of Piano Department Head Faculty AKG Katrin Meraner Katrin Meraner Event Management, Office & Organisation International Summer Academy & International Mozart Competition Employee AKG BR 2 Eckart Moser Eckart Moser Head of Academic Administration Service department management Employee AKG Frank Max Müller Frank Max Müller Senior Lecturer in Dramaturgy Faculty AKG Sandra Nothnagel AKG Kathrin Parson Kathrin Parson Evaluation & Monitoring, Service Agreement Employee AKG Barbara Pölzleithner Barbara Pölzleithner University assistant Employee AKG BR 1 Janina Schnobrich AKG Marion Spingler Marion Spingler Teacher of Voice Faculty AKG Barbara Tischitz Barbara Tischitz Senior Lecturer Faculty AKG Bettina Tüchler Bettina Tüchler Secretary to the Vice Rector for Academic Affairs Employee AKG Julia Wieneke Julia Wieneke Professor of Music Education / Deputy Chair of the Curriculum Committee for Teacher Training & Academic Doctorate Deputy Department Head Curriculum Committee Faculty AKG Jump to slider start    © Anna Sophia Hofmüller

Secretary to the Vice Rector for Academic Affairs

Evaluation & Monitoring, Service Agreement

Organisation … Home About us Organisation Working Groups Working Groups Working groups negotiate issues of essential interest to the entire Mozarteum University Salzburg. They collate information, arguments, desiderata and points of criticism on their respective subject areas in order to draw up recommendations for the further development of the university. Recommendations from a working group must be dealt with by the responsible committees. Working groups thus serve as meeting points  for and between individuals, institutions and committees. Working Group for Research The Research Working Group advises on strategic objectives in the areas of academic and artistic research as well as the advancement and appreciation of the arts. Its particular focus is research projects that fulfil the criteria of the development plan and performance agreements. It also carries responsibility in the area of quality management. The Research Working Group is interdisciplinary and therefore consists of at least five people from different organisational units in addition to the Head of the Research Support Department, who are appointed by the Rectorate in consultation with the Research Support Department. The head of the Department of Research Support is responsible for the management, organisation and administration of the Research Working Group. Working Group for Sustainability The Sustainability Working Group is responsible for advising on strategic objectives in the field of sustainability in accordance with the development plan and performance agreements. It also plays an active role in quality management.  The Sustainability Working Group is interdisciplinary and therefore comprises, in addition to the Head of the Sustainability Department, at least five individuals from different organisational units, who are appointed by the Rector’s Office in consultation with the Sustainability Department. The management, organisation and administration of the Sustainability Working Group, as well as the invitation to the inaugural meeting, are the responsibility of the Head of the Sustainability Department. Mehr erfahren Working Group for Inclusion & Diversity In the summer semester of 2018, a working group for inclusion and diversity (AG ID) was set up at the Mozarteum University Salzburg in conjunction with the Vice-Rectorate for Teaching. Alongside raising awareness for the cross-sectional areas of inclusion and diversity, the presentation of existing activities and the conception of new ones was also a declared goal. The areas of responsibility include advising curriculum committees and department heads as they devise new curricula and develop inclusion and diversity-related teaching content, as well as cooperating with the relevant departments at other universities and colleges in Salzburg. Mehr erfahren! Working Group for Digitalisation The Digitalisation Working Group is responsible for monitoring the implementation of the Digitalisation Strategy Paper and Roadmap, developing recommendations for the further development of infrastructure and strategic objectives in the context of digitalisation, and playing an active role in quality management. The Digital Working Group is interdisciplinary in nature and comprises the heads of the Digital Media, MITS and University Library departments, a representative from the Quality Management and Development Planning department, a member of the DAF management team, and representatives from Departments 01, 06, 09, 10, 11 and 12. Other individuals may also participate.  The DAF and the Digital Working Group collaborate on drafting recommendations for the Rectorate regarding quality management, performance agreements, the development plan, and the infrastructural and strategic development of the Mozarteum University Salzburg.  Mehr erfahren!

Organisation … Home About us Organisation Internal Auditing Department Internal Auditing Department Internal Auditing reports directly to the Vice-Chancellor and acts as the first point of contact for the Vice-Chancellor’s Office. The Audit Department reports on the projects assigned to it and, in addition to conducting vulnerability analyses, carries out organisation-wide audits. Contact:+43 676 88122 430claudia.ehrenlechner@moz.ac.at The core responsibilities of the support unit also include the evaluation and optimisation of business processes, as well as the further development of the internal control and risk management system at the Mozarteum University in Salzburg. The definition, introduction and implementation of methods and standards also play an important role. In this context, the Internal Auditing primarily fulfils an advisory and support role.

News … Home News Domenica Radlmaier Domenica Radlmaier - Soprano 27.04.2020 Alumnae & Alumni Stories Iris Wagner © Privat Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "Solo program as an alternative" — Domenica Radlmaier: Soprano, Germany & Austria How did you experience the Corona period as an artist? For me it was from one hundred to zero within one day. I had a four-week rehearsal period until mid-March for an opera project near Karlsruhe, where I would have sung Rosalinde in Die Fledermaus. That meant lots of people, full days, wonderful music, great experiences and very creative work. We then had to skip the last day of rehearsals, because the public buildings were closed and so we couldn't go into our rehearsal hall anymore. So we met in front of the building on what was supposed to be the last day of rehearsals. The announcement, you are not allowed to enter anymore, came only in the morning. We were only able to have a short closing meeting outside. We said goodbye to each other and were all a little irritated. Most of us were already looking for trains home because we were afraid we wouldn't get home. We were an international team. But none of us really thought at that point that this festival couldn't happen. The rehearsals stopped in March and in May it was communicated that the festival cannot take place in the form it did. Instead, there will be smaller concerts. In what period would the festival have taken place without Corona? T he festival was planned with several productions from July to August. One production would have been the "Fledermaus" with 20 performances. Are there already new perspectives for you now? I was invited this week for four concerts. The program is not quite fixed yet, because the staff tried to save the festival until the very end. Not least for the audience, as it is a very established and popular open-air festival. Fortunately, the productions will be made up next year. But the four concerts are a first step and they probably wanted to stay present for the audience and not leave us artists out in the rain. It's nice to hear that other formats, forced smaller formats, are being implemented. I can already hear a sense of optimism. But what was the first time like after you stopped rehearsals? The first time I was still very committed to the project, because I couldn't imagine or didn't want the phase to last so long. I was still totally in work mode and worked off things that had been left lying around, got my apartment in shape and structured every day. Then the phase got longer and longer and at some point it was no longer foreseeable. From that point on, it became really difficult for me. When there is no real goal point. Especially since it is difficult to sing in my apartment. We have thin walls and I was also aware that many people are now at home. And then, when it was also foreseeable that I wouldn't be able to go on stage for a while, I didn't want to exhaust that and then also be a noise nuisance. Do you have to practice less as a singer than a violinist or a pianist? You notice it very much as a singer if you can't practice much. Especially the condition suffers. In Austria, support programs for artists, for example through the Artists' Social Insurance Fund, were also an issue relatively soon. What was that like in Germany? I didn't deal with it so intensively at first, because I thought the festival was taking place in the summer. I also thought, maybe others need this help more urgently than I do. In addition, the whole system was very opaque and keeps changing until today. Only yesterday I received new information. For a long time it looked like that solo self-employed people who don't have liquidity problems don't get any help. So, that private costs like rent don't count. I have no studio, no rehearsal room, no machine to pay for. For this reason, I fell out of the "aid projects" for the time being. Now it's being adapted and refined little by little, and I have high hopes that the system will improve for us artists. I've signed up for some things and filled out some forms but I guess you still have to be patient. It's not easy, but I'm trying not to lose heart and hope that some kind of "normality" will return soon. I am afraid that many people do not realize that the situation will drag on for a long time. This is not over with the end of the pandemic, but many things simply cannot be done now because they are not profitable for theaters. Without a financially functioning theater, artists can't be hired either. Therefore, the aftermath will be felt for much longer. As a young professional, it is therefore difficult to regain a foothold. Many auditions were canceled, programs and operas were canceled completely. I was lucky now that this festival tries to implement small projects instead of the planned program. But a lot of things have been canceled without replacement, so the loss of earnings is 100 percent. I can hear that as an artist you have to be creative in a different way at the moment. What can you actually do under the existing conditions? In Austria, events with 100 people have been allowed to take place since the end of May - an opera production is thus not profitable… It was very nice that some approached me and asked for online lessons. That was also a lot of fun and of course I was happy that they thought of me during that time. I also try to offer solo programs, have done some cabaret as well. The small programs include only two people on stage: the singer and the pianist. With them I want to bring the audience a little bit of cheerfulness, looseness and laughter in the difficult time for everyone. Is there anything you wish for your work environment? What has always stung me personally is that the soccer club has been in the media a lot, and very often there have been discussions about when the players will now be allowed back on the pitch, and other areas have been given less thought. There are very many people in the arts and many who are dependent on this industry. I was lucky that I was always well informed about the state of affairs by "my festival". However, I know of other organizers who to this day have given no indication of how things will continue, even though there are existing contracts. Being "stand-by" was also the hardest part of the Corona period for me. Not knowing when to be ready for the stage or whether to try for other things, the uncertainty. Of course, no one could know how long the situation would last. But I hope that soon we will be able to put aside this caution and have great events. We artists are all hungry to be able to make more art again. I realized during the Corona period that listening to music or seeing productions through a screen is not the real thing. The experience of the stage and concert hall is different. I miss that contact with my colleagues and the audience. www.domenicaradlmaier.com More portraits Shape music history - Vivi Vassileva 13.5.2026 Shape music history - Vivi Vassileva  Vivi Vassileva represents a new generation of percussionists and showcases percussion as an instrument of the 21st century. She takes the audience to the very frontiers of the world of percussion, which she explores and pushes back with incredible passion, brilliant technique, virtuosity and athletic performance. A conversation about her work as a musician, the world of percussion and the athletic aspects of music. Alumnae & Alumni Stories It shouldn’t just be about the wheelchair – Markus Degenfeld 9.4.2026 It shouldn’t just be about the wheelchair – Markus Degenfeld  An applicant in a wheelchair, with physical and speech impairments, wishes to study acting. Doubts among the teaching staff, uncertainty about how to interact with him, organisational hurdles – and yet the commitment not to judge too hastily, but to look more closely: at his enthusiasm for acting, his spontaneity, his ability to work in a group, and his sense of humour. Alumnae & Alumni Stories Ten voices in harmony - Sonance vocal ensemble 17.2.2026 Ten voices in harmony - Sonance vocal ensemble  A conversation with Benedikt Gurtner about a cappella singing, working in an ensemble, the importance of music for children and society, and the social value of making music together. Alumnae & Alumni Stories Paths to self-employment - Franziska Strohmayr 6.8.2025 Paths to self-employment - Franziska Strohmayr  The versatile and renowned violinist, project manager and lecturer Franziska Strohmayr grew up in Augsburg and came to Salzburg to study, where she still lives today after graduating from the Mozarteum University under Prof. Martin Mumelter and Prof. Wolfgang Gratzer and from the Guildhall School of Music and Drama in London under Prof. Jacqueline Ross. Alumnae & Alumni Stories Braver than before - Mariia Tkachenko 8.4.2025 Braver than before - Mariia Tkachenko  Mariia Tkachenko lived in Kyiv until March 2022, where she received singing and violin lessons as a child and has already appeared in several TV productions. Her acting studies at the I. K. Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television were interrupted by the war in Ukraine. Alumnae & Alumni Stories A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories More news

News … Home News Petra Polli Petra Polli - visual artist 26.05.2020 Alumnae & Alumni Stories Iris Wagner © Privat Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start Extremely Productive Corona Times Petra Polli: visual artist Bolzano & Leipzig     How did you experience the Corona period as an artist in Bolzano? The Corona period was an extremely productive one for me right from the start. I made two small ink works a day for the TRACKS series, where nature/the forest is the central motif. In the beginning, the works were black and white as in the Tracks series. As the Corona period progressed, the color and mood in my paintings changed. With the tightened restrictions and the duration of the quarantine, the colors became warmer, more intense and the images more sensual. The longing to go outdoors, into the forest became stronger and stronger. I have the impression that the measures in South Tyrol and Italy were stricter than here in Austria... Exactly. In Bolzano, at the beginning, it was the case that you were only allowed to go 200 meters away from where you lived. That was the case for about three weeks. You could only go out for shopping and to take short walks. Sports were not allowed. We were given new rules and packages of measures every week. At first these were very strict, then the movement radius was extended from 200 to 400 meters. At some point we were allowed to do some sports again, at least running. Cycling was not yet allowed. Friends and family were also not allowed to visit. After two months, the relaxation was that you were allowed to walk as far as you could. Only now, at the end of May, one is allowed to move freely again in South Tyrol, even to drive a car and meet one's friends and family. Masks are still compulsory as soon as you leave the apartment. I know you have a small studio in the apartment. Was that a stroke of luck? Yes. It so happened that I had to give up my studio because, as an artist, I was not allowed to go into my studio for the first two weeks. Wisely, I set up a space at home to work. The good thing was that there was always nice weather. That made the Corona time easier. Especially for those who had a balcony. How can you imagine the "Corona productivity increase" compared to a normal creative period? I've done the workload of a normal year now in two months. So you made good use of the Corona time and were productive. Do you already have plans where you will show the pictures? There are already planned exhibitions that will take place soon - although it is not yet clear how and whether there will be a vernissage and whether contact with the public will be possible. When are exhibitions allowed to take place again in South Tyrol? The museums may open to the public on May 29. In June I will show works in the Museion in Bolzano. The second exhibition in June, in which I will show works from the TRACKS series, will take place at the Palais Mamming Museum in Merano. In this exhibition there will be an artist talk, unfortunately without an audience. The talk will be recorded and put on the web. What were the biggest challenges during the Corona quarantine? The biggest challenge for me was the social distance. Not being allowed to meet anyone, no family, no friends. But there was also a positive development with the increasing video calls. Some contacts were intensified again as a result. I experienced this as a very intense time, but also as a time in which, unfortunately, many exhibitions had to be canceled. What conditions do you need as an artist to be able to work "normally" again? Basically, the framework conditions are now in place again. However, as an artist you have to think about how an alternative exhibition mode can take place. Maybe it would be a possibility to bring the works more into the net and to do virtual tours and artist talks, as some museums are already doing now. Nevertheless, the interaction and contact with the public are the most important. Are there any support programs for artists in Italy? In South Tyrol, an initiative was started by the Artists' Association and the South Tyrolean provincial government to support artists during this period. There was emergency aid of 600 euros, which worked well. As proof of activity, a work of art, which was offered for sale, was put online on a separate platform. A second initiative was created by the state for freelancers and entrepreneurs. This help was dependent on the income of the same month in the last year. However, artists do not earn regularly. So if the income was bad in April 2019, it will affect the help in 2020. How do you see the next weeks and months? Now is a good time for me to take initiative, be active and initiate projects. I feel in a mood of optimism. www.petrapolli.com More portraits Shape music history - Vivi Vassileva 13.5.2026 Shape music history - Vivi Vassileva  Vivi Vassileva represents a new generation of percussionists and showcases percussion as an instrument of the 21st century. She takes the audience to the very frontiers of the world of percussion, which she explores and pushes back with incredible passion, brilliant technique, virtuosity and athletic performance. A conversation about her work as a musician, the world of percussion and the athletic aspects of music. Alumnae & Alumni Stories It shouldn’t just be about the wheelchair – Markus Degenfeld 9.4.2026 It shouldn’t just be about the wheelchair – Markus Degenfeld  An applicant in a wheelchair, with physical and speech impairments, wishes to study acting. Doubts among the teaching staff, uncertainty about how to interact with him, organisational hurdles – and yet the commitment not to judge too hastily, but to look more closely: at his enthusiasm for acting, his spontaneity, his ability to work in a group, and his sense of humour. Alumnae & Alumni Stories Ten voices in harmony - Sonance vocal ensemble 17.2.2026 Ten voices in harmony - Sonance vocal ensemble  A conversation with Benedikt Gurtner about a cappella singing, working in an ensemble, the importance of music for children and society, and the social value of making music together. Alumnae & Alumni Stories Paths to self-employment - Franziska Strohmayr 6.8.2025 Paths to self-employment - Franziska Strohmayr  The versatile and renowned violinist, project manager and lecturer Franziska Strohmayr grew up in Augsburg and came to Salzburg to study, where she still lives today after graduating from the Mozarteum University under Prof. Martin Mumelter and Prof. Wolfgang Gratzer and from the Guildhall School of Music and Drama in London under Prof. Jacqueline Ross. Alumnae & Alumni Stories Braver than before - Mariia Tkachenko 8.4.2025 Braver than before - Mariia Tkachenko  Mariia Tkachenko lived in Kyiv until March 2022, where she received singing and violin lessons as a child and has already appeared in several TV productions. Her acting studies at the I. K. Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television were interrupted by the war in Ukraine. Alumnae & Alumni Stories A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories More news

News … Home News Ulli Gollesch Ulli Gollesch - visual artist & art educator 30.05.2020 Alumnae & Alumni Stories Iris Wagner © Privat Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "A collection of experiences and adventures" — Ulli Gollesch: visual artist & art educator, Austria How did you experience the Corona period as an artist? Artistically, not much has changed for me. I am in an intensive preparation phase for a solo exhibition that is planned for the fall. I feel the same as always, because the fact that I retreat to work is nothing new. Neither are the issues that come up because of the crisis. For example, I have often dealt with isolation in my art. Maybe because I am a melancholic person. So pure loneliness has not yet overtaken me, but neither has overcreativity. I work always and everywhere - even in public spaces or in my small print workshop. Mostly a bit unstructured and yes, I would say I don't feel the crisis at all from that point of view. Of course, my exhibitions could be canceled in September, but then the world won't collapse for me either. I am also an art teacher and therefore not so dependent. In homeschooling (visual education), great discussions arose with my students about contemporary art, about the understanding of art and the interpretation of works of art. A project with artists from the Forum Stadtpark could also be implemented online, including an online exhibition. From a pedagogical point of view, homeschooling was already a burden. I have a certain demand as an art teacher, the personal contact in the school was very missing and the compensation in nature or in the studio became all the more important for me. My own gallery, the "Kunst off-space Narrenkastl" continues as normal. It is a shop window and the concept is based on the fact that people can look at the art as they pass by or sit down for a moment around the clock. So that's not a problem, the distance can be maintained optimally, and I don't hold any vernissages. In addition, I am engaged in a meeting zone in my home community Frohnleiten. Since Easter, there are 2 advertising columns on which passers-by can leave artwork, news, sundries - this will be a temporary story until the end of May. The action is well received, a special Grätzel has emerged - a neighborhood creativity - and I hope that the project will continue to develop. Planned are game meetings from the end of June with table tennis or other joint actions. When and where will you show your work? Will there be a vernissage and an artist talk? From September 12 to October 24, 2020, I will be showing my work at the Galerie Marenzi in Leibnitz with the exhibition "Geschichten aus der Schublade" (Stories from the Drawer). The opening will take place on September 11 at 7 pm. With mask and spacing rules of course. The gallery has about 150 square meters, so it will not be too crowded. The exhibition opening will make Heidrun Primas (Forum Stadtpark). Text about the exhibition: "Doesn't everyone have that drawer full of old things from the past, a small fantastic archive of memories and quotes that can't simply be cleared out without diving into it and intensively connecting even the smallest or most bizarre object with images of thoughts?" A conglomerate of stories - an accumulation full of inspirati¬ons, found or explored, captured moments. Remnants brought to light again - an archaeology of one's own biography - staged and reflected. What is the importance of interacting with the audience for you? I am a passionate networker and love to interact with people. Here and there stories are also inspirations for me - I am a collector. Everyone carries stories, memories or experiences around with them - isn't it the most beautiful thing to reflect or philosophize about them together? Is there anything else you would like to share with us from an artist's point of view? I think it is important to always believe in yourself and your own projects and to stand behind them. To create is something so meaningful - to have an expression and turn it into something. Art and culture is an important essence of life. www.ulligollesch.com More portraits Shape music history - Vivi Vassileva 13.5.2026 Shape music history - Vivi Vassileva  Vivi Vassileva represents a new generation of percussionists and showcases percussion as an instrument of the 21st century. She takes the audience to the very frontiers of the world of percussion, which she explores and pushes back with incredible passion, brilliant technique, virtuosity and athletic performance. A conversation about her work as a musician, the world of percussion and the athletic aspects of music. Alumnae & Alumni Stories It shouldn’t just be about the wheelchair – Markus Degenfeld 9.4.2026 It shouldn’t just be about the wheelchair – Markus Degenfeld  An applicant in a wheelchair, with physical and speech impairments, wishes to study acting. Doubts among the teaching staff, uncertainty about how to interact with him, organisational hurdles – and yet the commitment not to judge too hastily, but to look more closely: at his enthusiasm for acting, his spontaneity, his ability to work in a group, and his sense of humour. Alumnae & Alumni Stories Ten voices in harmony - Sonance vocal ensemble 17.2.2026 Ten voices in harmony - Sonance vocal ensemble  A conversation with Benedikt Gurtner about a cappella singing, working in an ensemble, the importance of music for children and society, and the social value of making music together. Alumnae & Alumni Stories Paths to self-employment - Franziska Strohmayr 6.8.2025 Paths to self-employment - Franziska Strohmayr  The versatile and renowned violinist, project manager and lecturer Franziska Strohmayr grew up in Augsburg and came to Salzburg to study, where she still lives today after graduating from the Mozarteum University under Prof. Martin Mumelter and Prof. Wolfgang Gratzer and from the Guildhall School of Music and Drama in London under Prof. Jacqueline Ross. Alumnae & Alumni Stories Braver than before - Mariia Tkachenko 8.4.2025 Braver than before - Mariia Tkachenko  Mariia Tkachenko lived in Kyiv until March 2022, where she received singing and violin lessons as a child and has already appeared in several TV productions. Her acting studies at the I. K. Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television were interrupted by the war in Ukraine. Alumnae & Alumni Stories A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories More news

News … Home News Julia Rinderle Julia Rinderle - pianist 08.06.2020 Alumnae & Alumni Stories Iris Wagner © Neda Navaee Skip page navigation Overview Conversation More portraits Alumnae & Alumni Network Return to slider start "Culture is systemic!" — Julia Rinderle: Pianist, Germany How did you experience the Corona period as an artist? It was difficult because all the bans came so quickly and suddenly and you couldn't adjust to them at all. You were suddenly in the situation that you were no longer allowed to perform, that it was difficult at first to continue teaching your students. I have a teaching position at the Hanover University of Music, and there the semester also started later. You had to switch to online teaching very quickly. But I thought that was actually a pretty good thing, because at least it went on a little bit and there wasn't a complete hole. I did quite a bit of online teaching, private students and also the students in Hannover. That carried me through a lot. There were deadlines, I worked, of course I earned money. For freelance artists, of course, a lot has broken away and that will probably continue for quite a while. You have to fight quite a bit and who knows when concerts can take place again in a relatively normal form, so that it is bearable for organizers and artists. The lack of goals and concrete projects has been difficult in recent weeks. One was so used to working and preparing from concert to concert, from project to project. I was totally in the rhythm and then all that wasn't there anymore. But it was also nice to have some real time to work intensively on a piece. I also exchanged ideas with chamber music partners via Skype, since we couldn't rehearse. We analyzed pieces and went through them together. That was definitely profitable. Things continued, albeit in a more difficult form. Are there already perspectives again?  Do you already know whether the planned concerts in the summer, for example your China tour, will take place? I have been in contact with the organizer in China, but he could not yet tell me exactly whether it can take place or not. I have received a very vague answer. In China everything is already running relatively normal again, but until a few weeks ago no concerts were allowed to take place and the complete classes at the universities were also running online. I don't know yet how fast this will change and I'm still a bit skeptical. Of course I hope that it will take place, but I also don't know yet whether I would be allowed to enter. It is also the case that students from Asia could not take advantage of the semester in Austria and Germany because they were not allowed to come here. Are there other small projects or does it need more lead time for artists and organizers? The lead time is probably needed by the organizers. I would love to play again next week….(laughs). I am in contact with the cultural office of my hometown. I was allowed to look behind the scenes a bit and was informed about what it would mean to organize an open-air concert, for example. I thought that could be a nice solution. But you also need a place that is suitable for a piano concert. The place must be able to be cordoned off, there must be enough people who controlled the hygiene and distance rules. That involves a lot of effort. Indoor concerts quickly shrink the audience and then it's a question of whether it's worth it for the organizer. However, I am planning to play a concert in my home country this summer. There is also a very nice platform, "CouponConcert", created by young German musicians. There, private individuals can book house concerts. The concept is "pay now, play later". So you get paid now and make dates for the end of 2020 or for 2021. I think that's quite a nice idea, because you get help now and you can redeem the coupon later. There are already some creative concepts and a house concert has already come about as a result, I think I can already play that in the summer. Everything else then from autumn, there are then again projects planned. Probably also in compliance with the hygiene and distance rules. But that means that it was very important for you to have a second, pedagogical "mainstay"? Absolutely. That became very clear to me now. I was so happy to be able to teach. I've always enjoyed doing it. I don't do it now because I think I have to, but because I really enjoy it. But of course I was very grateful for the teaching job and for other students I was able to attract. Teaching has carried me through this time. What was the most difficult part of this situation for you? For me personally, adjusting to the new daily rhythm and accepting that it just wasn't possible. In the beginning I thought you could do it this way or that way and then at some point you have to accept that it's not possible. Now there are the small glimmers of hope that you can perform with a reduced audience, which is very nice. It helped me to accept the situation then. But it took quite a long time. And I also found it very difficult to see that art had to justify itself to politics. That art is very much system-relevant (this unword), that one had to fight for it in such a way. And it also became clear that we artists perhaps lack a representation of interests. It's difficult because we are so many individuals and we have no one to stand up for us. And that, unfortunately, one was often unwise and concluded concerts without a contract and thus also had difficulties with the funding programs. That happened to many of my colleagues. It's also common to set concert dates and receive a fee, but not sign a contract. We can certainly learn from that. How did you deal with the aid programs in Germany? Of course, I kept myself informed and also had to realize that I was falling through the cracks. One of the emergency aid programs would only have covered operating costs, and what does a freelance artist have for operating costs? It's more about living expenses. It was also the case that it varied from state to state. Because of federalism, everything was very complicated. I checked with the state of Bavaria, and there is now a support program that doesn't just cover operating costs like the emergency aid, but also includes loss of fees and the like. You can apply for the program from May to September. I also know from colleagues that the help was very different. Sometimes it went very quickly and other times it took a very long time. How did you get on with the practice? Did you have to be considerate of neighbors? Thank God that here in my home I can theoretically practice day and night. Did Corona also bring out positive things? I realized that I appreciate small things much more now. I see how precious the freedom we had before was. I recently had another trio rehearsal and I so enjoyed the exchange with others and feeling the sound, it was so nice to make music with others again. Before, it was routine. The things that were taken for granted, one appreciates more now. I hope one can preserve that. Is there anything you wish for your work? That's a difficult question. Well, the interim solution with the small concerts and the hygiene rules is good for the moment, but it's not the same in the long run. I don't know how much concertgoers enjoy it. I recently saw a picture from the Musikverein with all the empty seats. That was quite strange. That's why I would like to see a vaccine or a drug so that the restrictions can be eased. Otherwise, I don't have any concrete ideas either. For me, streaming and all the online concerts are not an alternative. It's not comparable to a real cultural or concert experience. The alternatives, which were certainly good for bridging the gap, are not a solution in the long run. But this realization is also positive. People miss art and long for it. That's what I've always hoped. Is there anything else you would like to leave us with? On December 4, I may play the fourth Beethoven piano concert still in the Beethoven Year! In the Herkulessaal in Munich. I am particularly looking forward to this concert and very much hope that we will still be able to pay tribute to Beethoven in 2020. If it really takes place, I would like to invite everyone to it! On the way I would like to give everyone a lot of patience, understanding for each other, the different handling of the situation, everyone reacts differently, and that you still try to support each other. juliarinderle.com More portraits Shape music history - Vivi Vassileva 13.5.2026 Shape music history - Vivi Vassileva  Vivi Vassileva represents a new generation of percussionists and showcases percussion as an instrument of the 21st century. She takes the audience to the very frontiers of the world of percussion, which she explores and pushes back with incredible passion, brilliant technique, virtuosity and athletic performance. A conversation about her work as a musician, the world of percussion and the athletic aspects of music. Alumnae & Alumni Stories It shouldn’t just be about the wheelchair – Markus Degenfeld 9.4.2026 It shouldn’t just be about the wheelchair – Markus Degenfeld  An applicant in a wheelchair, with physical and speech impairments, wishes to study acting. Doubts among the teaching staff, uncertainty about how to interact with him, organisational hurdles – and yet the commitment not to judge too hastily, but to look more closely: at his enthusiasm for acting, his spontaneity, his ability to work in a group, and his sense of humour. Alumnae & Alumni Stories Ten voices in harmony - Sonance vocal ensemble 17.2.2026 Ten voices in harmony - Sonance vocal ensemble  A conversation with Benedikt Gurtner about a cappella singing, working in an ensemble, the importance of music for children and society, and the social value of making music together. Alumnae & Alumni Stories Paths to self-employment - Franziska Strohmayr 6.8.2025 Paths to self-employment - Franziska Strohmayr  The versatile and renowned violinist, project manager and lecturer Franziska Strohmayr grew up in Augsburg and came to Salzburg to study, where she still lives today after graduating from the Mozarteum University under Prof. Martin Mumelter and Prof. Wolfgang Gratzer and from the Guildhall School of Music and Drama in London under Prof. Jacqueline Ross. Alumnae & Alumni Stories Braver than before - Mariia Tkachenko 8.4.2025 Braver than before - Mariia Tkachenko  Mariia Tkachenko lived in Kyiv until March 2022, where she received singing and violin lessons as a child and has already appeared in several TV productions. Her acting studies at the I. K. Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television were interrupted by the war in Ukraine. Alumnae & Alumni Stories A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories More news

The New Art and Music Ensemble NAMES recently received the ensemble sponsorship award of the Ernst von Siemens Music Foundation, endowed with 70,000 euros. A conversation with Anna Lindenbaum, violinist and founding member of NAMES.

Seda Röder, formerly a concert pianist and now an author, entrepreneur and philanthropist who works to promote creativity in society and organizations. She is a sought-after speaker, advisor to DAX companies, and founder of the Sonophilia Foundation, a non-profit organization dedicated to promoting the scientific study of creativity and critical thinking.

News … Home News Agnes Kern Agnes Kern - Music & dance teacher 01.11.2023 Alumnae & Alumni Stories Iris Wagner © Orff-Institut Agnes Kern - Music & dance teacher Graz hat do you do for a living? What does your "everyday working life" look like? I studied music and dance education with a focus on social work and integrative education at the Orff Institute. Fortunately, I got a job at the College for Social Pedagogy in Graz straight after my studies. I was lucky that the director was not looking for conventional school musicians. The Orff Institute is well-known and the holistic method was preferred. I started with the subjects of music education and rhythmic-musical education. I now also give instrumental lessons with guitar, i.e. small group lessons. With the college, I have found a field of work that absolutely emphasizes the artistic-creative orientation. The focus is just as practice-oriented as it is musically creative. These two components are the core elements, with a lot of handicrafts, visual education and musical subjects. I was welcomed with open arms, was able to get involved and was allowed to work freely. I really have the feeling that I can continue what I already enjoyed during my studies. What is the best thing about your job? What opportunities does it open up? I particularly like the integrative approach. Not having to choose between instrument and dance or artistic areas, I liked the holistic approach. I didn't even know that the Orff Institute existed until I was 18 or 19. When I came across it, I was thrilled! The movement, the dance, the stage, performance and the music of course - being able to integrate all of that is great. I also had the feeling that this was important to my colleagues, even though they were all looking for their own niche. I recently met my fellow students in Salzburg (laughs). I was certainly one of those who specifically sought out the integrating and connecting aspects. I was passionate about interdisciplinary areas and interdisciplinary projects. That appealed to me back then and it's exactly what I appreciate so much about my current job. Just yesterday we had project presentations at the college with insanely creative ideas. We go out and work with underage refugees, but also with senior citizens. It's a wide and wonderful range. Which groups of people do you teach? My students are prospective teachers aged 18 and over. However, we also have older students on part-time courses and a day college. Our college now offers two courses, namely elementary education and social pedagogy. In elementary education, graduates work in crèches and kindergartens. Graduates in social pedagogy use their training to work in a broad spectrum of social pedagogy, in child and youth care facilities, with people with disabilities and in employment support projects. What do art, music and dance mean to you? These subjects are of central importance to me. I am always very sad when the artistic-creative subjects are dismissed as marginal subjects or even dispensable appendages. Unfortunately, I am currently experiencing this at my daughter's primary school. In the creative arts lies this creative power that we need for all areas of our lives. I keep realizing how much it is missing when someone doesn't have this integrating insight. This became even clearer during corona. I see it as a huge task to bring sensitivity into the classroom. Digitalization means the need is even greater. When people talk about supposed media literacy, it is usually not about the competent use of media, but about the consumption of media and here we should actually return to the musical-creative, to the ability to perceive. It's about questions like: What happens in the real world and what happens in the digital world? When is it better to switch off the screen? What defines me as a person? What is my social interaction ability, my expression? The musical aspect is intended to meet the sensual need for expression that all people have. It is also about topics such as resilience, coping with stress, balance and a fulfilling everyday life. What challenges do (young) artists face in your field? Our field is still struggling for recognition, not least financial recognition. We are a niche program in Austria and our work is unfortunately not adequately remunerated. We have to complete the same length of training as other educators and yet we are not paid the same. There are inequalities here. In my personal professional work, I have experienced a great deal of appreciation and gratitude, but this is not reflected financially. In addition, we are not allowed to teach at all schools, such as elementary school. However, this problem also exists with other music education courses. Young music and dance teachers also have to come to terms with what it means to "work as a teacher" and in which regulated fields the profession also works. A classic area is the music school and it depends in which environment you end up. There are very good music schools that show appreciation and also pay well. Unfortunately, there are also those that differentiate between "first lessons" and "real music lessons" and show less appreciation for our area. Pure group lessons are also very strenuous and difficult to cope with in the long term. In any case, there is a broad field. Working in teacher training, in my case in the field of social and elementary education, is a great opportunity and I find it very exciting. I have the feeling that I can pass something on. Ultimately, we train multipliers. What was your experience of training at the Orff Institute? I was lucky enough to be able to take a lot with me. The instrumental lessons, the individual lessons and the voice training were important for me. The additional instrument, dance, yoga and Feldenkrais courses were particularly valuable. As already mentioned, the interdisciplinary projects played a special role for me. It was often a balancing act between lots of fresh input from outside and the core disciplines. In addition, the social component of our work was very valuable - creating something together, experiencing how the different skills and approaches of the participants can intertwine in a creative design process and opening up paths in this process that you would never have discovered on your own. The experience of being able to try things out within a wide creative scope was wonderful. Finally, the very broad-based internship groups at the Orff Institute were also a great resource. What advice would you like to give young creative people? I still see this course of study as a great opportunity and I think it's great that this professional field exists, that it can continue to expand and establish itself. For me, it is a great playing field to live out my own creativity and enthusiasm. Last but not least, working together with other people and the educational aspect are wonderful. I can remember my fellow students saying that they no longer had any hobbies, because all their hobbies had become professions (laughs). That is a great gift. Studying and having a job where you can do things you like is a gift. What would you like to see in the future, apart from greater recognition of your subject? Greater visibility of this diverse course of study in all its breadth. I feel lucky to be able to live like this and hope that the course will continue to exist in this way. Weitere Alumni Stories Shape music history - Vivi Vassileva 13.5.2026 Shape music history - Vivi Vassileva  Vivi Vassileva represents a new generation of percussionists and showcases percussion as an instrument of the 21st century. She takes the audience to the very frontiers of the world of percussion, which she explores and pushes back with incredible passion, brilliant technique, virtuosity and athletic performance. A conversation about her work as a musician, the world of percussion and the athletic aspects of music. Alumnae & Alumni Stories It shouldn’t just be about the wheelchair – Markus Degenfeld 9.4.2026 It shouldn’t just be about the wheelchair – Markus Degenfeld  An applicant in a wheelchair, with physical and speech impairments, wishes to study acting. Doubts among the teaching staff, uncertainty about how to interact with him, organisational hurdles – and yet the commitment not to judge too hastily, but to look more closely: at his enthusiasm for acting, his spontaneity, his ability to work in a group, and his sense of humour. Alumnae & Alumni Stories Ten voices in harmony - Sonance vocal ensemble 17.2.2026 Ten voices in harmony - Sonance vocal ensemble  A conversation with Benedikt Gurtner about a cappella singing, working in an ensemble, the importance of music for children and society, and the social value of making music together. Alumnae & Alumni Stories Paths to self-employment - Franziska Strohmayr 6.8.2025 Paths to self-employment - Franziska Strohmayr  The versatile and renowned violinist, project manager and lecturer Franziska Strohmayr grew up in Augsburg and came to Salzburg to study, where she still lives today after graduating from the Mozarteum University under Prof. Martin Mumelter and Prof. Wolfgang Gratzer and from the Guildhall School of Music and Drama in London under Prof. Jacqueline Ross. Alumnae & Alumni Stories

Following our cultural evening at the Austrian Embassy, at which we - together with the University of Salzburg - launched our Alumni Chapter Berlin, we warmly invite our alumnae and alumni to attend an informal networking event in October. We look forward to seeing you (plus-ones also welcome!) at the "Alumni-Stammtisch Berlin"!

The run up to Christmas is packed with social events and this pre-Christmas networking evening, organised by the Mozarteum University Alumni Network and the University of Salzburg Alumni Club, saw alumnae and alumni from both universities gather at the Berchtoldvilla for a book presentation.

In order to ensure that Austria maintains its position in the world of art and culture, selected outstanding graduates of arts universities are supported in the early stages of their artistic careers. To this end, the public arts universities, in cooperation with the Federal Ministry of Education, Science and Research, have launched the A4 – Austrian Art Alumni Award programme: each year, six graduates of Austrian arts universities are awarded a grant in recognition of their outstanding academic achievements.