Das Heft 6 der 'Musikgeschichte in Mittel- und Osteuropa\ (2000, S. 267{280) enthält eine kurze Vorstellung der bereits erschieneneMaterialsammlungen im Rahmen des komparatistischen 'Wiener Vormärz-Slavica-Projektes'. Die Folgebände wurden als in Ausarbeitung bfindlich angeführt: Jener Band, welcher das Material über Oberungarn, der heutigen Slowakei, umfasst, liegt nun vor.

Rückblickend kann man in Russland deutlich vier Etappen der Auseinandersetzung mit der ‚Zweiten Wiener Schule‘ (auch ‚Neue Wiener Schule‘ genannt) verfolgen. Die erste umfasst die Zeit vom Anfang der 1910er bis zur Mitte der 1930er Jahre, die zweite ab Mitte der 1930er Jahre bis zum Übergang der 1950er zu den 1960er Jahren, die dritte seit den 1960er Jahren bis zur Mitte der 1980er Jahre, und die vierte vom Ende der 1980er Jahre bis in die Gegenwart.

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In this thesis I explore the importance of elite women in early twentieth-century Vienna in relation to the Wiener Werkstätte. My research has led me to believe that the Werkstätte held a more egalitarian view of women than other contemporary European applied arts workshops. Unfortunately the art-historical canon has generally overlooked the applied arts of the Wiener Werkstätte, as well as the significant roles of women in the Werkstätte as artists, clients, patrons, and promoters. In this thesis, I consider cases of women in these roles in early twentieth-century Vienna in order to gain a greater understanding of Viennese women's place economically and politically, as well as socially and culturally. In particular, I examine the Werkstätte's primary records of sales and production (called model books), housed in the Wiener Werkstätte archives at the Austrian Museum of Applied Arts in Vienna, as a means to better understanding their participation. The evidence of the importance of women in relation to the Wiener Werkstätte, includes: 1) the creation of new opportunities for women in the arts; 2) the emergence and popularity of a liberating reformed fashion; 3) the focus of the Werkstätte on creating objects that would appeal to a female clientele; and 4) the Werkstätte's success, particularly among prominent wealthy female art patrons. I conclude that women's roles as artists, clients, patrons, and promoters can be seen as positions of empowerment for Viennese women of the early twentieth century.

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Based upon a reading of Arnold Schoenberg’s theoretical writings on the musical idea and its presentation, this essay discusses the possibility of a so-called posthermeneutical perspective on the phenomenon of sound in the Second Viennese School. Schoenberg’s sceptical considerations towards the relevance of sound are confronted with various arrangements, transcriptions, and instrumentations of works by Webern, Schoenberg and Berg. It can be demonstrated that sound here should be conceived neither solely as a means of constituting formal structure, meaning, and sense, nor as the constitutive Other of meaning. Against the background of current discussions on the concept of »Posthermeneutik« (cf. Dieter Mersch, Posthermeneutik, 2010), sound may be understood as a phenomenon oscillating between sense and sensuality.

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