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  • Ö1 Prize for Visual Arts 2026
    18.3.2026
    Ö1 Prize for Visual Arts 2026 
    The Ö1 Talent Scholarship for Visual Arts, worth €10,000, is provided by Wiener Städtischer Versicherungsverein. The award is intended to support emerging talent among students at the Academy of Fine Arts Vienna, the University of Applied Arts Vienna, the University of Art and Design Linz, the Mozarteum University Salzburg and the University of Art and Design Graz.
    News
  • Teacher Training Art Education Master (Innsbruck)
    Art Education
    Teacher Training Art Education Master (Innsbruck) 
    Study program
  • Teacher Training Art Education Bachelor (Innsbruck)
    Art Education
    Teacher Training Art Education Bachelor (Innsbruck) 
    Study program
  • Compositions from female hands: Kick-off for the Erika Frieser Chamber Music Days
    6.5.2021
    Compositions from female hands: Kick-off for the Erika Frieser Chamber Music Days 
    News … Home News Compositions from female hands: Kick-off for the Erika Frieser Chamber Music Days Compositions from female hands: Kick-off for the Erika Frieser Chamber Music Days 06.05.2021 Press release Sandra Steindl She was the first female professor of piano chamber music in the history of the Mozarteum University, a long-time duo partner of Gerhard Mantel and a member of the Beethoven Trio. in 2021, she will be the namesake of a festival format dedicated for the first time to the compositional work of women through the centuries in three top-class concerts on May 15 and 16: Erika Frieser. Among the participants in the Chamber Music Days: Juliane Banse, Andreas Martin Hofmeir, Klara Flieder, Enrico Bronzi, Christine Hoock, Pietro De Maria, and others, as well as students - the concerts will be broadcast live! "One of the first formative experiences for me - at that time still a student at the Mozarteum - was a graduate concert of the piano chamber music class of Erika Frieser. This gave rise to the idea of paying tribute to the first female professor of piano chamber music in the history of the Mozarteum," says Biliana Tzinlikova, initiator of the first Erika Frieser Chamber Music Days and head of a piano chamber music class at the Mozarteum University. The mission: to give women's compositional work a bigger stage. "Many works by women have not (yet) been given the place they deserve. Habits and entrenched role models are responsible for this; an unbiased view is therefore called for and is probably the most important prerequisite for a dialogue at eye level."  "Of light and shadow and abundant expressive palettes" tells the program of the first concert evening, which opens with Amy Beach's (1867-1944)  Suite for Two Pianos Founded upon Old Irish Melodies op. 104 (1924)  and plunges right at the beginning into a somber, melodically and harmonically strongly chromatically colored sound world. A highly successful concert pianist, Amy Beach was one of the first significant composers of serious music in the United States. The evening's song program follows a thread of insights into sensitive, searching artists' souls and their reflections on artistic activity, which are brought together in images of nature. The biographies also reveal remarkable parallels and connections: They all revolve around Paris in the broadest sense. The pianist, who was famous during her lifetime for her numerous bittersweet salon pieces and songs, and is known today primarily for her Concertino for flute and orchestra op. 107  pianist and composer Cécile Chaminade (1857-1944) was born and privately educated in Paris, as was Lili Boulanger (1893-1918), who was ill throughout her life and died at a very young age. In 1913, she became the first woman ever to win the Grand Prix de Rome of the French scholarly society Académie des Beaux-Arts in Paris, which was traditionally accompanied by a scholarship to study at the Académie de France in Rome.young (French) artists from this very academy in turn met Fanny Hensel (1805- 1847), who had studied privately in Paris for a short time and herself organized salons for artistic exchange in Rome during her trip to Italy in 1839/1840. Not only did the newly crowned Rome Prize winner Charles Gounod pay her the highest tribute as a composer and pianist, but a good acquaintance also did the honors: Pauline Viardot-Garcia (1821-1910), opera singer, pianist, composer, vocal pedagogue, editor, multitasking salonière (like Fanny Hensel) and, not to be forgotten, native Parisian. Paris is also the city in which the Finnish-born composer Kaija Saariaho (*1952), who has already received numerous prizes and awards, has lived since 1982 or since her studies at the Institut de Recherche et Coordination Acoustique/Musique. Henriëtte Bosmans' (1895-1952) opulent, highly expressive Sonata for Cello and Piano (1919) is still rooted in the late Romantic tradition and captivates with a wide range of expression and extreme cantabile of all themes. The  Lamento for tuba and piano  (1977) by Sofia Gubaidulina (*1931) represents a tonally dark, instrumental lament that combines the baroque tradition of the sigh motif with a strongly chromatic, post-tonal musical language. The piece, or rather its title, can certainly be seen as the composer's reaction to her situation in the repressive Soviet regime, which had defamed and banned her compositions.  Masterpieces from three generations of "modern" women composers will be heard in the second concert. Galina Ustvolskaya (1919-2006) studied composition with Dmitri Shostakovich at the Leningrad Conservatory from 1940 to 1947. Her T rio for clarinet, violin, and piano  was written shortly thereafter, in 1949, during her aspirations following her studies. Ustvolskaya's compositions are characterized by a distinctive tonal language of compositional radicalism and consistency in the elaboration of the musical material. Johanna Doderer (*1969) dedicated her  2nd Piano Trio (DWV 52)  of 2009 to the Austrian composer Franz Joseph Haydn (1732-1809), who had died a good 200 years earlier. Thoughtful musical architectonics and lightness establish references to the important innovator and pioneer of Viennese Classicism. Doderer's composition is a postmodern and post-tonal work. She does not shy away from tonal allusions and reminiscences. Her composition is refreshing, energetic, and in many places allows one to make connections to the lightness of music of the Viennese Classical period. Rebecca Clarke (1886-1979) composed her  Piano Trio in 1921 , which won her 2nd prize at the Coolidge International Prize in Berkshire in the USA. The tritone proves to be a central building block in this piece, both motivically and harmonically. Clarke's composition impresses with a consistent compositional working through of the musical material.  Under the motto "Wegbereiterinnen" is the program of the third concert. It begins with the  Quartet for 4 Violins  by  Grażyna Bacewicz  (1909-1969), probably one of the most important Polish women composers of the first half of the 20th century. She was the first to gain international reputation and to assert herself in a patriarchal and conservative Polish musical world, breaking the lance for the recognition of women composers. Forced by the cultural-political doctrine of Socialist Realism to find more or less recalcitrant ways of composing, she produced, among other things, a synthesis of elegant, technically refined, strongly neoclassical-tinged musical language and Polish folk music themes. The following  String Quartet in C major, op. 58  by Dora Pejačević (1885-1923), with its late-Romantic extended, partly impressionistic, expressionistic and atonal harmonies, identifies the composer as the "boldest personality of the harmony sphere" in Croatia in the first decades of the 20th century, where she opened the door to new developments. The French composer Louise Farrenc (1804-1875), on the other hand, with her  Piano Quintet No. 1 in A minor, Op. 30  (1840), pioneered the establishment of intellectually challenging chamber music in opera-drunk 19th-century Paris.the program for the Erika Frieser Chamber Music Days was developed in exchange with all participants. "It is a pleasure for me that so many excellent musicians, teachers and students of our house are taking part. My special thanks also go to the Institute for Equality and Gender Studies, especially to Michaela Schwarzbauer and Iris Mangeng for their support and tireless enthusiasm in making this project happen," says Biliana Tzinlikova. An accompanying program booklet with comprehensive texts on the concerts as well as detailed biographies of the participants and Erika Frieser was produced under the direction of Iris Mangeng. 
    News
  • Support for artistic/scientific projects
    27.2.2022
    Support for artistic/scientific projects 
    News … Home News Support for artistic/scientific projects Promotion of artistic / scientific projects 27.02.2022 News Iris Mangeng The Institute for Equality & Gender Studies of oversees the announcement and awarding of prizes for theses and qualification projects as well as funding of artistic/scientific projects in the fields of Gender & Queer Studies as well as Diversity Studies. This offer is intended to make visible the examination of gender- and diversity-sensitive as well as queer and/or feminist issues pursued at the University Mozarteum Salzburg and, above all, to provide an incentive for young artists/scientists to deal with the subject matter. Application documents must be submitted in German or English and exclusively by e-mail: iris.mangeng@moz.ac.at Submission is possible on an ongoing basis. Grants will be awarded according to available funds. The announcement of the grant award will be made in writing. Support for artistic/scholarly projects in the fields of Gender & Queer Studies and Diversity Studies The Institute for Equality and Gender Studies at the University Mozarteum Salzburg supports initiatives that deal innovatively with questions of gender and/or diversity. Support is given to scientific and artistic projects that are committed to women's studies. that address gender, power and domination relations, gender roles, 'queer' expressions of desire and/or the (de)construction of gender in the arts, sciences and society. that reflect gender identities and diversity concepts (regarding sexual orientation, ethnicity, religion, age, disability, etc.). Such projects could be, for example: (active or passive) participation in a conference or in a workshop/course artistic presentations and works at the Mozarteum University: concert, scenic presentation/performance, exhibition or art installation etc. thematic studies: archive and literature research, empirical studies etc. Grants of up to 500 € are awarded to students of all fields of study. Requirements Regular studies and/or current employment at the University Mozarteum Salzburg. Projects/projects in connection with bachelor, master and diploma theses are NOT eligible for funding (projects/projects in connection with dissertations - provided completion of the viva B - can be funded in justified cases). Evidence (confirmations of participation, program booklets, short reports, etc.) of the successful realization of the project must be submitted to the Institute for Equality and Gender Studies within one month. Application documents completed form tabular curriculum vitae detailed description of the project (max. 1500 words), from which the following criteria clearly emerge: Critically reflective contextualization of one's own project/project in the scientific and/or artistic state of feminist research, gender, queer and/or diversity studies or in comparable artistic debates Objectives of the project/project Timetable or schedule Estimated costs Letter of recommendation from the project supervisor, main subject teacher, etc. (max. one A4 page).
    News
  • Laureates of the GenDivers Prize 2021
    14.5.2022
    Laureates of the GenDivers Prize 2021 
    News … Home News Laureates of the GenDivers Prize 2021 Laureates of the GenDivers Award 14.05.2022 Awards & Successes The Institute for Equality & Gender Studies strives to sustainably promote and make visible the examination of issues of feminism, gender & queer studies and diversity studies at the University Mozarteum. In order to provide incentives for young artists and scholars to deal with these topics, the GenDivers prizes have been awarded annually since 2020 for outstanding student theses that deal innovatively with aspects of gender, queerness, feminism and/or diversity. Laureates 2021 Joachim Gottfried Goller "Measure for Measure" after William Shakespeare (Mentor: Mehdi Moradpour) Joachim Gottfried Goller dealt with the problem play "Measure for Measure" by William Shakespeare in his diploma production. His production deals with the question of how and where sexuality becomes a social exclusion criterion. Here, however, the reality of the syphilis epidemic around 1603 is transformed through pop cultural references into a narrative about the HIV/AIDS epidemic of the 1980s. Supplemented by cross-casting, commentary and disguise, the result is a reinterpretation of a classic, queerly told. The production can be seen on YouTube. Marie Gruber Feminist Art in BE Classes: Potential for Critically Reflective Art Teaching (Supervision: Iris Laner) In her academic master's thesis, Marie Gruber addressed the question of the extent to which students' engagement with the representation of bodies and corporeality in feminist art changes their perception of this significant field of negotiation of aesthetic and sociocultural debates. After reflecting on current positions in art theory and didactics, quantitative and qualitative research methods are used to demonstrate that students' engagement with feminist art and its discourses strengthens their critical view of male and female stereotypes in their everyday lives, thus demonstrating the importance of such projects. Armela Madreiter MENNER - a scenic research report on the enemy image of the old white man (Supervision: Judith Philippa Franke and Andreas Bürgisser) What is male socialization? What does mansplaining and manspreading mean and how does one avoid this behavior? How does one deconstruct images of masculinity? These are just a few questions of many that will be asked in the artistic-practical master project MENNER. In this performative confrontation with the feminist enemy image of the white old man, work was done on stage with three male performers aged 55 to 70 as well as the stage designers Magdalena Hofer and Selina Nowak, attempting to take an innovative, feminist, critical but also self-ironic-entertaining look at the topic of the construction of masculinity. Reflection processes on male (self-)understandings and topics such as toxic masculinity, hegemonic masculinity and androcentrism were initiated - not least among the audience. Laureates 2020 Stefanie Alf The aesthetics of the non-normative dancer and choreographer Claire Cunningham (Bachelor thesis supervised by Monika Mittendorfer) Claire Cunningham is a non-normative artist who depends on the use of crutches. Her crutches are her constant companions in everyday life as well as in her movement research and performances. The bachelor thesis deals with the question to what extent Cunningham's aesthetics can be described and in this context focuses on the role of crutches as well as the development of her dance vocabulary. The explanations are based on Cunningham's lecture-demonstration "4 Legs Good" (2019). In order to place Cunningham's dance-technical vocabulary in a dance-scientific context, the existing dance analysis models "Laban Movement Analysis" and "Inventarisierung von Bewegung" according to Claudia Jeschke's IVB are first used. In doing so, clear limitations of these models, which per se are not designed for the analysis of non-normative aesthetics and bodies, as well as ideas for their corresponding extensions can be identified. Based on the research findings of Josephine Fenger (2009), Claire Cunningham's solo performance "Give me a reason to live" (2017) is then analyzed, for whose concept and choreography the artist used a collection of paintings by Hieronymus Bosch as a starting point, in which the diversity aspect "crip" is thematized. In her artistic work, Cunningham reacts to this in a thoroughly critical way. In summary, it can be said that Claire Cunningham's artistic practice makes an important contribution to diversity in society against the background of aesthetics and the question of non-normativity: Through her crutches, which make her disability particularly visible, and their use on stage, the artist not only questions norms of bodies on stage, but also reveals non-normative/special physical abilities and specificities. By making them visible, the spectrum of aesthetic perception is expanded and can be transferred from the contemplation of an artistic performance to other areas of life. A more diverse field of art, which shows itself in different areas and realities of life, thus contributes to a more diverse society. Katharina Streicher Inclusion of children with disabilities at Tyrolean regional music schools (Bachelor thesis supervised by Heike Henning) The thesis, which is a contribution in the field of diversity studies and aims to raise awareness, examines the inclusive practice of the Tyrolean music schools and, based on this, offers possible (thought) impulses for future changes on the way to an inclusive music school that makes (instrumental) lessons accessible to all. The starting point for the empirical study was formed by two sets of questions. The first question was about the current situation: To what extent do children with severe and multiple disabilities attend instrumental lessons at a Tyrolean regional music school? Which children are involved? Do the teachers feel prepared for this? It was examined to what extent teachers are prepared to teach people with disabilities and to what extent they already do so. Furthermore, the implementation of the different areas of accessibility at the music schools was determined from the perspective of the teachers. It was found that few children with disabilities receive music school instruction and that the willingness of teachers depends on the type of impairment the students* have. Most teachers in the sample, however, would in principle teach a child with a disability. A second set of questions was dedicated to the changes that would be needed in order to integrate children of elementary school age with severe and multiple disabilities into the everyday life of music schools in Tyrol as a matter of course. For this purpose, different aspects of accessibility at the music schools were examined. The results underline the need for change: Only about 23% of the music schools have structural and communicative accessibility, also physical accessibility is only given in a little more than half of all music schools in the sample. In summary, it can be stated that the inclusion of people with disabilities is not yet established and anchored in the Tyrolean regional music schools. New structures need to be developed and music schools in general need to be rethought. This should start with the training of teachers and lead to barrier-free buildings and the employment of teachers with disabilities. In order for all people to feel equally welcome, basic concerns would first have to be clarified, information in various forms of communication, financial support and much more is needed. It is equally important that people with disabilities or other diversity characteristics are seen as integral contributors to the music school concept and belong just as much - with all their strengths and weaknesses. Every person is unique and has individual demands. First, the worldview of the people involved must change, a commitment to inclusion must be expressed, only then can appropriate structures be created and it can be discussed whether there is a demand. Maria Ladurner Give me freedom (Artistic master thesis supervised by Kai Bachmann) The artistic master thesis in the form of a CD production refers to the central and titular motto "Gib Freiheit mir" (Give me freedom) from the poem "Auf die unverhinderliche Art der edlen Dichtkunst" (In the unobstructed way of noble poetry) by the baroque poet Catharina Regina von Greiffenberg. This verse, which is and must still be spoken by countless women for a variety of reasons, runs through the lives of the women whose compositions are represented on the CD (Francesca Caccini, Barbara Strozzi, Isabella Leonarda, Maria Theresa Paradis and Bettine von Arnim). The selection of works is intended to raise questions in the listener's mind that have also occupied (musicological) women's studies for decades: How did the possibilities of women change over the centuries? Why do we today, through the filter of past times, so often perceive women only as sisters, mothers, wives of famous men, rather than as artists in their own right? Is there a specific form of female expression? These questions were further explored in the external master's examination on the theme "Of Loving and Dying," which included the majority of the works recorded on the CD. As a dramaturgical feature of the examination program, the name and gender of the composers remained hidden from the audience at the beginning of the concert, and thus also the fact that exactly 50 percent of the music was written by women. Only in the epilogue, a part of the program to be read after the concert, was this circumstance resolved. It was important to me to draw the listeners' attention to possible gender-specific listening expectations. Only the music should count and not the circumstance of whether it belongs to a woman or a man. Winners of the 2020 Recognition Award Martha Luise Hamberger "What does she want here as a woman with this instrument?" Frauen im Orchester (Bachelor thesis supervised by Julia Hinterberger) Under the programmatic title "Was will denn die hier als Frau mit diesem Instrument?" (quoting Barbara Hirschvogl, double bass player), the thesis addresses gender relations and role models in artistic university education as well as in professional musical practice. Using a variety of methods, the project examines how the profile of female orchestral musicians has developed since the 19th century, what changes and developments can be observed, especially in the last 50 years, and what tendencies can be derived from this for the present and the future. In a hermeneutic-philological first section, with recourse to relevant sources of music and women's studies (cf. e.g. Freia Hoffmann and Eva Rieger), a historical longitudinal section is given on the developmental history of women as orchestral musicians. The empirical second chapter is based on the analysis of statistical material that illustrates the proportion of women in German-speaking orchestras, the female share among students, audition applications, new hires, and orchestra profile and status from the early 1960s to the present. These data reveal, among other things, a continuous increase in the proportion of women in orchestras - not only in the "typical women's instruments" such as violin and flute, but also in other woodwind instruments or, for example, the cello. Only in the playing of brass instruments are women still clearly in the minority. In general, a positive trend can be seen in the number of applications and new hires of women in orchestras as well as the number of women in orchestra management positions. The third part of the thesis uses a qualitative research approach and turns to double bass playing, which has long been described as a male domain: three female double bass players representing different generations are interviewed using leading question interviews. Through the answers, not only can the workings of (gender) hierarchies and power relations in orchestras be confirmed, but insights into female identity issues can also be gained. Leonor Maia Jamais renier Renié ( Artistic Master's Thesis supervised by Kai Bachmann) In the context of a CD production, this artistic master's thesis will examine the significance of the French harpist and composer Henriette Renié (1875-1956) for harp playing. Although Renié received much acclaim during her lifetime for her compositions and arrangements, which she successfully performed in many places, many of her music manuscripts are still untraceable and/or waiting to be made available to a wider public. While there are a manageable number of recordings and research works on the life and work of this composer on the international level, Renié has remained virtually unconsidered in research and performance practice in the German-speaking world. In this respect, the title "Jamais renier Renié" is not only a play on words, but formulates the goal of this master's thesis: in accordance with the efforts of many years of musicological women's studies, Renié's works are to be made (more) known in scholarly and artistic confrontation. The starting point for the master thesis is the Deux pièces symphoniques, of which only one historical recording exists to date, by the composer herself. This unknown work is juxtaposed with the longing, lyrical Pièce symphonique and the virtuosic Danse des Lutins, two better-known pieces by the composer, which make it possible to demonstrate Renié's broad compositional spectrum. The analysis makes clear how the composer repeatedly explored and overcame the limits of the instrument, emphasizing its versatility and uniqueness through the use of playing techniques that are only possible on the harp.
    News
  • Against Forgetting - Audible Remembering: Erika Frieser Chamber Music Days 2022
    3.12.2022
    Against Forgetting - Audible Remembering: Erika Frieser Chamber Music Days 2022 
    Against oblivion: when Cécile Chaminade (1857-1944) looked back on her extremely productive life of some 400 compositions two years before her death, she seemed skeptical: "I hope not to be forgotten."
    News
  • FAiR - the name says it all
    14.10.2024
    FAiR - the name says it all 
    FAiR stands for Female Artist in Residence and is a funding programme for young female artists on their way to becoming university professors. It was recently launched at the Mozarteum University and is committed to greater fairness and equal opportunities in the professional lives of women at music and art universities.
    News
  • Turning points - Women at the Mozarteum
    1.6.2025
    Turning points - Women at the Mozarteum 
    The history of women at the Mozarteum University is not linear - it tells of pioneers and structural barriers, of new beginnings and persistent change and can be experienced in an exhibition from June 2 to 18.
    News
  • Suzanne Prucher
    Service department management
    Suzanne Prucher 
    Head of the University Archive - Kunst-ARCHIV-Raum
    Person
  • Reflections – Female composers and their heirs in the sound of the present
    31.10.2025
    Reflections – Female composers and their heirs in the sound of the present 
    ‘Reflections’ is a project that pursues an egalitarian approach to the development and exploration of the arts: works by female composers from earlier centuries that have been forgotten or overlooked, rarely heard or never heard in this country are reflected in the diverse musical languages of today's musicians.
    News
  • Orange the World - Orange our University
    25.11.2025
    Orange the World - Orange our University 
    Violence against women (and minorities) is omnipresent, firmly anchored in our patriarchal structures, and is one of the most widespread human rights violations. In order to increase the visibility of the numerous initiatives of the United Nations and other organisations in relation to this topic, the UN campaign ‘Orange the World’ (OTW) introduced a uniform, strong subject colour. In keeping with its mission as an educational institution with social responsibility, the Mozarteum University is also taking part in ‘Orange the World’ during the ‘16 days against gender-based violence’ (25 November - 10 December).
    News
  • GenDivers Award 2026
    9.3.2026
    GenDivers Award 2026 
    The Institute for Gender Equality & Gender Studies at the Mozarteum University Salzburg awards prizes for outstanding student theses and qualification projects that correspond to the following understanding of scientific/artistic engagement in the fields of gender & queer studies, advanced feminism, and/or diversity studies.
    News
  • Current calls for Gender & Queer Studies, Advanced Feminism and Diversity Studies.
    12.3.2026
    Current calls for Gender & Queer Studies, Advanced Feminism and Diversity Studies. 
    The Institute for Gender Equality & Gender Studies oversees the announcement and awarding of prizes for theses and qualification projects, as well as funding for artistic/scientific projects and publications in the fields of gender & queer studies, advanced feminism, and diversity studies. In addition, (co-)financing is offered for guest lectures, workshops, and presentations within courses.
    News
  • Code of Conduct
    Code of Conduct 
    The University … Home About us The University Code of Conduct Verhaltenskodex Code of Conduct The Code of Conduct is a written, externally visible self-commitment of the Mozarteum University, which signals and gives certainty that a certain set of values is shared and practised at our institution and that we act in accordance with the law. The Code of Conduct is a common point of reference and guideline of "do's and don'ts" from a legal and ethical point of view, which contributes to creating a space free of discrimination and violence and to developing a speak-up culture and an active attitude of prevention and collective responsibility. Download: Code of Conduct (PDF) Preamble Here, people of different world views, cultures and interests enter into dialogue with each other, research, teach and work together. In doing so, they serve scholarly research and teaching, the development and advancement of the arts, as well as the teaching of the arts, thereby also contributing responsibly to the solution of human problems, as well as to the prosperous development of society and the natural environment. To implement this social responsibility and the concomitant function as a role model in the best possible way, Mozarteum University wishes to ensure a working environment based on certain values. Thus, the actions of the employees of the Mozarteum University are subject not only to statutory provisions and regulations issued by the University itself, but they must also be adhere to this Code of Conduct with the aim to further the University‘s anti-violence plan. This Code of Conduct, which establishes a binding framework for the actions of the employees of Mozarteum University, is also intended to ensure legally compliant, professional and ethical conduct, and thereby to help promote the implementation of the guiding principles of Mozarteum University under § 2 of the Austrian University Act. Members of Mozarteum University and external personnel who work in teaching, research, developing and advancement of the arts (EEK) (hereafter referred to as „external personnel“) are expected to know the applicable regulations and guidelines and must take on personal responsibility. New employees will be familiarised with the Code of Conduct during the onboarding process. Content § 1 Responsibility§ 2 General Principles of Conduct§ 3 Appreciation and Culture of Dialogue§ 4 Diversität§ 5 Interpersonal Relations and Power Structures§ 6 Harassment at Work – Bullying§ 7 Sexual/Gender-based Harassment and Sexualised Violence§ 8 Integrity in academic and artistic study, teaching and research activities§ 9 Intellectual Property Law – Copyright§ 10 Conflicts of Interest§ 11 Confidentiality and Data Protection§ 12 Corruption/Bribery/Acceptance of Gifts§ 13 Finances§ 14 Dealing with Donations and Sponsorship§ 15 Use of Natural Resources§ 16 Use of the Resources of Mozarteum University Salzburg§ 17 Confidentiality and Data Protection§ 18 External Communication/Media Contacts/Social Media§ 19 Ambiguities and Infringements§ 20 Entry Into Force   § 1 Responsibility Each individual member of Mozarteum University and each external party is personally responsible for compliance with and implementation of the Code of Conduct. Employees and external parties with management responsibility must be role models in the implementation of the Code of Conduct. They must instruct and train their employees in its use and monitor compliance. The Rectorate will ensure that appropriate further education, training and staff development measures are offered. In the event of ambiguities in and breaches of the Code, further action must proceed in accordance with § 19. § 2 General Principles of Conduct All members of Mozarteum University and external parties must fulfil their assigned areas of responsibility and competence with commitment, integrity and loyalty. Their behaviour must be characterised, in particular, by sincerity, fairness, appreciation and respect in their dealings with each other. All members of Mozarteum University and external parties must carry out their tasks in agreement with the principles of sustainability, economic efficiency, expediency, economy and transparency. Mozarteum University is expressly committed to the principles of anti-discrimination and equal treatment. These provide for equal treatment of all persons, regardless of their gender, socio-economic origin, age, ethnicity, sexual orientation, religion or belief, as well as in the case of disability. § 3 Appreciation and Culture of Dialogue University teaching and research includes people of different world views, interests and objectives; this results in the need to develop a distinctive culture of dialogue and conflict resolution. Appreciative interaction with each other requires continuous respect for the integrity, values and subject cultures/traditions of others and toleration for differing points of view. Appropriate manners and an appreciative, respectful culture of dialogue must be practised in all daily interactions. Sound, image and video recordings without the prior consent of the person(s) being recorded are unlawful and unacceptable, except for recordings carried out for the purpose of minuting meetings. This applies to all areas of activity and groups of people. Appropriate personal distances must be maintained at all times. Personal contact between teachers and students, especially in teaching situations, must be determined consensually, with special consideration being given to cultural and linguistic factors. Physical touching may only be carried out in a justified, relevant and mutually agreed manner, which must be determined in advance. In terms of written language, an appreciative culture of dialogue must be reflected in the use of gender- and diversity-sensitive language in all written documents. Cultural differences must be taken into account – as far as possible – in connection with the fulfilment of tasks at Mozarteum University. § 4 Diversity Mozarteum University is committed to diversity, a multiplicity of perspectives and equal opportunity and pursues its diversity strategy accordingly. At Mozarteum University, people from all over the world, with different gender identities, sexual orientations, religions or world views and socio-economic backgrounds, of different ages and with different prerequisites work, study, teach and carry out research. Mozarteum University appreciates, integrates and promotes their different abilities, talents and competences, wherever possible.This unique diversity enriches university life and work at all levels. It also serves as a source of inspiration for creative work, research, teaching, study and work. Mozarteum University therefore creates working and study conditions, in which everyone can develop their individual abilities. § 5 Interpersonal Relations and Power Structures The exploitation of power relations and dependency structures must be actively counteracted in all work, study and cooperative contexts. Employees and external parties with management responsibility at Mozarteum University must ensure a good working atmosphere and thus the best possible conditions for working at Mozarteum University; they can accomplish this by treating everyone in an objective and fair manner. They must support their employees, make clear and ambitious – although realistic – agreements with them, and carry out regular staff appraisals. Employees and external parties with management responsibility at Mozarteum University are entitled to loyal conduct and the optimal performance of tasks by the employees and external parties assigned to them. Their specifications, guidelines and instructions must be complied with within the framework of the applicable legal provisions. They must themselves be aware that they function as a role model for the employees and external parties assigned to them and must regularly participate in further training in leadership and management skills. Employees and external parties must respect the interests of Mozarteum University and, in particular, must refrain from doing anything that could damage the reputation of Mozarteum University. As part of the duty to assist and the duty to report, employees and external parties must warn of any impending damage and must contribute to its elimination. All employees and external parties are entitled to loyal behaviour and the best possible support from their superiors. This also includes assistance in problem situations. Moreover, the conditions necessary for an appropriate working environment must be created by the managers. In particular, the compatibility of private life, family and work has a high priority in the self-image of Mozarteum University as a family-friendly employer. With regard to the relationship between staff or external parties and students, care must be taken to ensure an appreciative atmosphere that is conducive to a professional working relationship in connection with university education, research and development and the advancement of the arts. Especially in training and study situations, power relations and dependency structures must not be exploited. The promotion of young artistic, pedagogical and scholarly talent is a central goal of staff and external parties. A transparent, appreciative culture of communication according to the applicable anti-violence plan of Mozarteum University forms the basis of this working relationship. University teaching shall, as a matter of principle, take place on the premises of the University. In particular, students must not be required by tutors to receive their lessons on tutors’ private premises. § 6 Harassment at Work - Bullying Mozarteum University will not tolerate any form of harassment in the workplace. This includes insults as well as any patterns of behaviour that are usually summarised under the term “bullying” (any form of behaviour that damages reputation, e.g., ridiculing, bullying, systematic refusal of contact, etc.). In the event that members of Mozarteum University and external parties feel affected by such harassment or observe such behaviour, including between employees or external parties and students, action shall be taken in accordance with § 19. Mozarteum University takes all complaints of harassment or bullying seriously, investigates them thoroughly and will then take appropriate action. In the event of an incident, the anti-violence plan of Mozarteum University can be used as a guideline for possible action. § 7 Sexual/Gender-based Harassment and Sexualised Violence No form of sexual and/or gender-based harassment will be tolerated at Mozarteum University. The policy of the Rectorates of the University of Salzburg (PLUS) and Mozarteum University on combatting all discrimination on the grounds of gender, in particular through sexual and/or gender-related harassment or by means of criminal acts against sexual integrity and self-determination, applies. Sexual harassment and sexualised violence can occur in non-verbal, verbal and/or physical ways and through a variety of behaviours or actions. Only the person concerned has the right to name sexual harassment as such and to define whether behaviour is unwanted, exceeds boundaries or is sexually harassing. Sexual harassment and/or gender-based harassment and sexualised violence (including in the digital space) include, in particular, behaviour and actions, such as: sexually derogatory language, especially sexist remarks or sexist jokes degrading and depersonalising remarks about persons and/or their bodies, their (sexual) relationships, their sexual orientation and/or gender identity and/or presentation unwanted invitations and requests for physical advances and/or sexual acts telephone calls, letters, emails containing sexual innuendos the unwanted creation, dissemination and/or display of sexualised or sexually degrading illustrations and/or pornographic images or texts (in all electronic formats, emails, text messages or social media) obscene gestures, intrusive and sexist staring, especially at intimate areas of the body solicitation of sexualised or sexual behaviour persecution and coercion with a sexual background stalking, following and/or surveillance, stalking by persistently seeking physical proximity or by persistently making unwanted (attempts at) contact, including misuse of personal data outside the scope of official support duties seemingly accidental and/or unwanted touching and crossing of interpersonal distance exhibitionist acts physical, sexualised or sexual assault forced sexual relations, coercion or rape. All employees of Mozarteum University and external personnel, especially those with management responsibility, must strive to create a culture of responsibility that neither condones (active) perpetration nor (passive) bystanderism; this aims to jointly eliminate all forms of sexual and gender-based harassing behaviour. Special attention must be paid to relationships involving instruction and dependency between individuals; in this context, threats of personal and professional disadvantage or promises of advantage or holding out the prospect of advantage are considered to be particularly grave. The Charter of Fundamental Rights of the European Union provides for freedom of art and science in Article 13; the Basic Law of the State on the General Rights of Citizens provides for freedom of science and its teaching in Article 17, as well as for freedom of artistic creation, communication of art and its teaching in Article 17a. However, art and science are not created in spaces without interpersonal boundaries. In all forms of teaching, it is important to develop an awareness of borderline situations and different perceptions of boundaries and to cultivate respectful interactions with students. It is the responsibility of the teacher to take the existing relationship of dependency into account at all times. At Mozarteum University, any sexual harassment and/or gender-based harassment will entail consequences under contractual or employment law as well as criminal charges. The University reserves the right to take action against any persons who fail to provide assistance, even if it is reasonable for them not to do so. Persons who insist on compliance with the Code of Conduct must not be made to suffer any personal or professional disadvantage as a result. Every individual case will be taken seriously, investigated and, if necessary, the situation will be remedied in some way. § 8 Integrity in academic and artistic study, teaching and research activities Mozarteum University Salzburg is committed to a ‘culture of academic and/or artistic integrity and quality’ in its artistic university practice. Any actions that could contribute to a reduction in integrity in the academic and artistic study, teaching and research activities of the Mozarteum University Salzburg are to be refrained from. Teachers have a role model function in this regard. They must provide students and young researchers in science and the arts with the best possible support in developing and internalising an appropriate attitude. The obligation to label aids also applies to the use of AI. The extent of intellectual effort must be verifiable. § 9 Intellectual Property Law – Copyright Employees of Mozarteum University and external personnel must ensure that they do not commit infringements of intellectual property belonging to others. This also applies in particular to the intellectual property of students. In particular, employees and external personnel must ensure that the commercial property rights of Mozarteum University and third-party commercial property rights made available to Mozarteum University are not infringed. § 10 Conflicts of Interest Employees of Mozarteum University and external personnel must disclose all actual or potential conflicts of interest immediately and without any request to do so, in writing to the relevant superior. This also applies even if there might be just the appearance of a conflict of interest. Conflicts of interest may arise, in particular, in connection with the following factors: Employees must strictly follow the regulations on their obligation to report and/or refrain from secondary employment. Employees of Mozarteum University and external personnel must avoid all conflicts of interest caused by close personal relationships (in particular any bias in accordance with § 7 General Administrative Procedure Act 1991); where such conflicts exist nevertheless, they must be disclosed in writing. This applies in particular to professorship appointment and certification procedures, application procedures and appointments to other kinds of positions, study admissions, scholarship awards, evaluations, teaching assignments and contracts for work. Employees of Mozarteum University and external personnel are not permitted to provide any paid services connected with their teaching activities to those students who are registered in the corresponding area of study at Mozarteum University. In addition, in the case of legal transactions concluded in the course of work for or on behalf of Mozarteum University, any actual or potential conflicts of interest (in particular “self-dealing”) must be reported, immediately and without any request to do so, in writing to the relevant superior (see also par. 1). When concluding such legal transactions, the “arm’s length” principle applies. The arm’s length principle applies whenever operational relationships stand in a reasonable relationship and a contract would be entered into with the third party under comparable conditions. In the case of procurement activities, it must be documented and checked whether conflicts of interest in the above sense exist. If any can be identified, concluding the legal transaction is only permissible if it can be proven that the transaction is customary in the above sense. In principle, a strict separation between private and university interests must be ensured. An individual employee and an individual external person must not only follow the rules expressly mentioned above but must also be guided by the basic ethical and moral understanding of this Code of Conduct. § 11 Confidentially and Data Protection Working at Mozarteum University requires the responsible handling of confidential information of any kind obtained during professional activities as well as outside one’s own specific field of activity. This includes in particular that all data and information are to be treated with special care and sensitivity even if they are not expressly marked as confidential. When passing on information and data externally or internally within the University, the legal framework of data protection must be followed. A breach of data secrecy may also constitute a criminal offence, in addition to any consequences under employment or service law. Employees of Mozarteum University and external personnel must ensure that confidential information is kept secure and protected from inspection or access by unauthorised persons.All third parties commissioned by Mozarteum University shall be bound to secrecy by means of a written declaration. Members of Mozarteum University and external personnel shall refrain from all forms of behaviour that may damage its reputation. As public officials, all employees of Mozarteum University are obliged to maintain secrecy about all facts that become known to them exclusively as a result of their official activities, if their disclosure or publication would violate a public or justified private interest. § 12 Corruption/Bribery/Acceptance of Gifts Mozarteum University rejects any form of bribery and corruption. This also applies even if transactions might appear to have been concluded for the purpose of granting concessions or advantages. All staff members of Mozarteum University are office bearers in the sense of § 74 Abs. 1 Z 4a Austrian Criminal Code and are thus subject to the criminal law on corruption. In particular, it is not permitted to demand or accept services, private trips or invitations, gifts or similar from external business partners that influence or could influence personal conduct with regard to any activities carried out on behalf of Mozarteum University. This also applies to direct or indirect offers of such benefits by other employees of Mozarteum University. According to the criminal law on corruption, the acceptance of gifts is a criminal offence and, to this effect, all gifts must be refused or returned. The relevant supervisor or line manager must be informed of any such incidents. For hospitality and representation expenses, the requirements contained in the procurement guidelines of Mozarteum University shall apply. § 13 Finances All employees of Mozarteum University and external personnel shall perform their duties in accordance with the principles of economic efficiency, economy, expediency and transparency in regard to the public interest; in particular, processes related to finances shall always be carried out in full and correctly and documented in a clear and comprehensible manner. Special attention must be paid to avoiding and/or minimising financial risk. Cost awareness and responsible financial management are indispensable in the handling of resources at Mozarteum University. All areas of competency and associated signatory powers must be defined in a comprehensible and transparent manner. Authorised signatories and external personnel must be aware of the responsibility and consequences of signing documents (especially those with external effects). § 14 Dealing with Donations and Sponsorship To preserve the integrity and reputation of Mozarteum University, the University adheres to the following principles when dealing with donations and sponsorship: Freedom of science, research, art and teaching shall be guaranteed, so that independence from financial interests must always be ensured. All funds made available must be used responsibly, sustainably, effectively and appropriately, in accordance with a transparent procedure. Legitimate wishes of patrons of Mozarteum University, e.g., the substantial orientation of the funding purpose, must be taken into account. This shall not affect freedom of teaching, research or the development and advancement of the arts in the sense of the following statements. For reasons of transparency, a completely anonymous donation, in which, for example, only one trustee in relation to Mozarteum University acts on behalf of a donor will not be accepted. Earmarked donations must be used exclusively for the purpose agreed. If the original purpose of the donation changes or ceases to apply, Mozarteum University will inform the donor accordingly and concurrently provide information about the alternative purpose for which the donation is to be used. Mozarteum University rejects any donation or sponsorship, especially in those cases in which their acceptance would: Impair the freedom of research, teaching or the development and advancement of the arts as well as teaching of the arts. Create even any impression that any political, ideological or economic interests of the donor would be pursued. Trigger procurement decisions or sales volumes in favour of the donors or other conflicts of interest. Impair or damage the reputation and integrity of Mozarteum University. Potentially result in a reduction of the assets of Mozarteum University, especially due to high follow-up costs of a grant. Be subject to conditions unacceptable to Mozarteum University. § 15 Use of Natural Resources Mozarteum University is committed to the responsible and sustainable use of natural resources. As a public educational institution, the University is aware of its exemplary role and its scope for action and takes concrete steps to reduce the negative environmental impacts of the University’s activities. Central objectives such as internationalisation and digitalisation must be examined for the resources necessary and any possible negative effects on sustainability, such as CO2 emissions. Where necessary, they must adapted or configured positively in their dimensions and characteristics. The United Nations’ Sustainable Development Goals (SDGs), which aim to achieve fair coexistence and better living and working conditions, serve as an orientational framework for sustainable action. Members of Mozarteum University and external personnel shall, through responsible behaviour, act in this spirit and make an active contribution to environmental protection, resource and energy conservation, and a healthy working environment. § 16 Use of the Resources of Mozarteum University Salzburg The resources provided by Mozarteum University [premises incl. equipment, instruments, hardware and software, telephony, databases, networks, etc.] are reserved for official use. Members of Mozarteum University and external personnel must use these diligently, responsibly and economically. Occasional and minor private use of certain ICT (information and communication technology) facilities is accepted, provided it does not interfere with the ordinary operation of the service and is not for personal business purposes or misuse (e.g. retrieval, storage and transmission of offensive, discriminatory, racist or sexist content). § 17 Confidentiality and Data Protection At Mozarteum University, occupational health and safety is of particular importance. Mozarteum University attaches great importance to a safe and healthy working environment and strives to promote the physical and mental well-being of all members of Mozarteum University and external personnel. To pursue the goals of prevention in occupational health and safety and, in turn, to avoid illnesses and injuries, all members of Mozarteum University as well as all external personnel are expected to comply with safety regulations (e.g. workshop regulations, fire protection regulations). All are expected to maintain awareness of possible dangers, and to apply caution in all safety-relevant activities. The abuse of drugs, medication, alcohol or other legal or illegal intoxicants or narcotics is prohibited during working hours and, generally, on the premises and grounds of the University. § 18 External Communication/Media Contacts/Social Media Truthful reporting in all internal and external communications is the foundation of all constructive cooperation based on trust. External representation of Mozarteum University through oral or written communication must be carried out by the responsible member of the Rectorate or through delegation by the responsible member of the Rectorate. Private expressions of opinion towards media representatives or in social networks about Mozarteum University must always be clearly communicated as private expressions of opinion, according to §§ 10, 11, 12. § 19 Ambiguities and Infringements In the event of questions, ambiguities, suspected or direct violations of this Code of Conduct, all employees and students may contact their direct superiors as well as compliance officers, the working group for equal treatment issues or members of the Rectorate for any advice and appropriate decision-making support. Students may also contact their teachers and the staff of the Austrian Student Union and university student representatives. Student representatives and tutors can also help if necessary. External personnel may contact the Compliance Officers. Persons who, in good faith, report suspected violations, whether or not these are substantiated, to their respective supervisor or to in-house or external outreach or counselling services shall not suffer any detriment as a result of such reporting; this shall not apply to deliberate misreporting, however. The Rectorate supports all affected parties. In doubtful cases, questions regarding this Code of Conduct can be directed to the Compliance Officer (e-mail: compliance@moz.ac.at). § 20 Entry Info Force This Code of Conduct shall enter into force on the day following its publication.
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