Archives

  • Cover of the first issue of the International Journal of Music Mediation (IJMM) - 24/1

    Doing Music Mediation. International Perspectives on a Multi-Faceted Practice
    Vol. 1 No. 1 (2024)

    Despite being a relatively new practice, music mediation has already garnered substantial research attention. However, most scholarly findings have primarily circulated within national contexts. Recent efforts to internationalize research on music mediation include the publication of the anthology “Tuning Up! The Innovative Potential of Musikvermittlung” (Chaker/Petri-Preis 2022) and the organization of two conferences: “Rencontres Internationales sur les Médiations de la Musique” (Université de Montréal, 2022) and “Turning Social! On the Social Transformative Potential of Music Mediation” (University of Music and Performing Arts Vienna, 2023). The establishment of the International Journal of Music Mediation (IJMM) aims to build upon these initial steps towards internationalization and to further advance this trajectory. The aim of the first issue is to develop a common understanding of music mediation.

  • This image shows the cover of the journal issue Vol. 3, No. 1 (2026), Transformation: Music Mediation as a Game Changer.

    Transformation. Music Mediation as a Game Changer
    Vol. 3 No. 1 (2026)

    With the fourth issue of the International Journal of Music Mediation (IJMM), we turn our attention to a topic that has gained increasing urgency in recent years: transformation. Across societal, cultural, technological, and political domains, profound changes are reshaping not only the ways in which music is created, performed, and experienced, but also the roles of musicians, institutions, and audiences. Against this backdrop, music mediation is increasingly discussed as a practice that does not merely accompany change, but actively contributes to it on artistic, organizational, and societal levels.

    The contributions in this issue are rooted in the international conference Transformation – Music Mediation as a Game Changer, held in 2025 at the Bruckner University in Linz (Austria), complemented by further submissions responding to the open call. Together, they explore transformation as an open-ended process that unfolds across micro, meso, and macro levels, connecting individual artistic experiences with structural developments in cultural institutions. Rather than approaching transformation as a goal-oriented or measurable outcome, the contributions emphasize its contingent, emergent character and the role of collaborative practices in enabling change.

     

  • Cover of the first issue of the International Journal of Music Mediation (IJMM) - 25/1/1

    Music Mediation and the Socio-Ecological Transition
    Vol. 2 No. 1 (2025)

    How do participatory and socially engaged musical practices – supported by music mediation – contribute through their “intervention strategies” (Fourcade 2014) to reflection on territorial transformation? Can they act as accelerators of socio-ecological transition? Put differently: what happens when music mediation fosters engagement with socio-environmental concerns? For this second issue of IJMM, and drawing on the concept of “transition” introduced by Rob Hopkins in 2008, we ask whether and how music mediation can play “a catalytic role in enabling communities to explore and imagine their own responses” (Hopkins 2014, 134) to environmental challenges.

  • Jazz Encounters. Foundations and Potentials of Music Mediation in Jazz
    Vol. 2 No. 2 (2025)

    Even though the concept of music mediation can be applied to diverse practices and musical styles, it is still realized “with a focus primarily on so-called Western art music respectively classical music” (Chaker and Petri-Preis 2022, 11). Jazz is a widely acknowledged genre, performed in jazz clubs and increasingly also in traditional concert halls, and taught at (music) schools as well as in higher music education across many parts of the world. Yet, while music mediation has developed remarkably within classical concert life, it is still in its early stages in the field of jazz. Against this backdrop, the conference Music Mediation in Jazz held in 2024 at the Gustav Mahler Private University of Music in Klagenfurt (Austria) offered a welcome space for dialogue. It brought together musicians, educators, and researchers, revealing a wealth of inspiring perspectives and approaches as well as a strong desire for professional and academic exchange. The vivid discussions during this event inspired the idea of dedicating the third issue of the International Journal of Music Mediation to the topic of music mediation in jazz. This issue turns the spotlight on the foundations and potentials of a jazz-oriented approach to music mediation.