In their introductory article, Sarah Chaker and Axel Petri-Preis aim to contextualise the volume by providing terminological, historical and current sociological approaches to Musikvermittlung. Among other things, they show that the term Musikvermittlung is deeply rooted in German music education and discuss the problems of finding an adequate English translation for the international scientific community. Furthermore, the authors trace the increasing institutionalisation and professionalisation of practices of Musikvermittung and analyse their current significance from the perspective of cultural policy. Finally, they argue that Musikvermittlung has the inherent innovative potential to function as a social bridge builder: through music, people who otherwise would not have met, due to their different social and cultural backgrounds, are brought together and invited to interact with each other. This is how practitioners of Musikvermittlung are »doing universality« in the sense of Andreas Reckwitz (2020), thereby providing »a counterweight to the omnipresent act of doing singularity« (ibid.: 441) in contemporary societies.

Tiefschwarze Nächte, Krächzgesang und Kunstblut, magische Symbole, archaische Rituale und uralte Geschichten: Black Metal bedient auf unterschiedlichsten Ebenen der Inszenierung Codes des Dunklen, Bösen und Geheimnisvollen - musikalisch-klanglich, diskursiv, visuell, körperlich-performativ, paratextuell. Doch wie genau funktionieren gängige ästhetische Symbole des Black Metal und wie sind sie in ihrem jeweiligen Kontext zu verstehen und einzuordnen? Ausgehend von dieser Frage bieten die Beiträge des Bandes differenzierte Einblicke in ein komplexes musikalisches und kulturelles Gegenwartsphänomen. Darüber hinaus geben sie methodisch Aufschluss über Möglichkeiten und Grenzen transdisziplinärer, kollektiver Analysen von populärer Musik.

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This contribution is dedicated to another practical format of Musikvermittlung that was part of the lecture series back in 2019/2020: For the Austrian cello quartet Die Kolophonistinnen with its young musicians Hannah Amann, Marlene Förstel, Elisabeth Herrmann and Theresa Laun, practices of Musikvermittlung are an integral part of their daily professional routines. This is how the quartet has been able to make a name for itself, for its creative performative strategies and special arrangements of works, which all aim to address and connect with the audience, as the lecture series also impressively showed. Based on an interview with Marlene Förstel, Sarah Chaker outlines the motivation and strategies of the ensemble with regard to Musikvermittlung.