isaScience 2021

  • General Information

    The upcoming isaScience conference „Heroes, Canons, Cults. Critical Inquiries“ takes place as both an online and a hybrid conference in Reichenau/Rax from 11-15 August 2021.

    Participation in all isaScience events is free and open to the public. For on-site participation, the 3-G rule applies as well as additionally (if possible) the obligatory proof of a valid PCR test (also for persons who have already been vaccinated!). On the second day of the conference, Thursday, 12 August, PCR testing for all conference participants will be offered free of charge at Schloss Reichenau.

    For organisational reasons, registration is obligatory for all participants!

    No registration fee!

    • Online registration is open until 10 August 2021!
    • For on-site registration and hotel reservations, please register no later than 31 July 2021!
    • Please have a look at the isaScience special rates for hotel accommodation!
    • Please check the technical requirements for your online-participation!
    • The mdw – University of Music and Performing Arts Vienna covers coffee breaks at Schloss Reichenau and lunches at Hotel Marienhof.
    • A shuttle service from the train station at Reichenau/Rax to the conference venue is available free of charge.

    Please note:
    The conference venue has changed!

    Schloss Reichenau
    Schlossplatz 9
    2651 Reichenau an der Rax

    The castle of Reichenau is located in walking distance from Hotel Marienhof and Gasthof Flackl-Wirt.

    For further information please contact

    Link to facebook-page of isaScience


  • Conference Space & Book of Abstracts (PDF)

  • Call for Papers

    Heroes, Canons, Cults.
    Critical Inquiries

    isaScience 2021 focuses on critical perspectives on heroic imaginations, cultic actions and the formation and maintenance of canons. Across musical styles and cultural spheres, heroes, cults and canons contribute to the creation of normative and exclusionary and even violent settings, dictating what ears and eyes should deem adequate and valuable. Likewise, heroisation, cultification and canonisation define what remains unheard, unseen and regarded as unworthy.

    Historically, the making of “heroes” and the processes of canon formation have been closely associated with Western art music and the celebration of certain composers as “great artists” as well as the consecration of their works as “masterpieces”. These practices employed for the production of artistic values are informed by the ideology of the autonomous artist and the increasing formation of a museal culture that developed throughout the 19th century. Moreover, these practices supported the emergence of a more strictly defined boundary between “highbrow” and “lowbrow” cultural forms and became the dominant standard by which popular and traditional music forms were evaluated. These developments are closely linked to Eurocentric, imperialist and elitist institutions such as opera houses, concert halls and music conservatoires that allowed for classed, gendered and racialized modes of producing, performing, consuming and appropriating music.

    Later on, despite discursive struggles over cultural authority, the music industry ̶ including music publishers, record company personnel, journalists and other cultural intermediaries ̶ as well as the development of recording technology, the internet and social media have played a significant role in the definition of stardom, the making of heroes and the processes of canon formation within diverse cultural worlds, including jazz, rock/pop, hip hop, traditional music, classical music and folk music, among others. The introduction of electrical recording, for example, allowed for the availability of vernacular musics in locally specific languages and dialects, giving rise to colonial ethnographies of indigenous music. Simultaneously, this technological innovation offered colonised populations the opportunity to hear themselves, to construct musical canons and to gain a sense of identity which was necessary for anti-colonial action. More recently, individuals and groups have made use of the technologies afforded by the internet in order to document, preserve and disseminate alternative music histories and to challenge the mainstream musical canon that has traditionally marginalised artists of colour, non-western performers, female musicians and queer figures.

    However, mainstream musical canons provide the raw material for the commercial music industry to make a profit, while the tourism industry builds on nostalgia and the commemoration of musical heroes, traditions and canons to actively brand and market cities or even nation states like Austria. Commemoration can result in fandom culture, possibly culminating in religious and spiritual ascriptions and cults around music and musical heroes, with some fans strongly engaging in brand communities. Moreover, commemorative cultural policies manifest themselves in monuments, archives and festivals, maintaining and reinforcing canons at the expense of innovation and diversity. In that respect, canonical usages of traditional music as normative representations of regional and national culture—as evident for example in UNESCO’s intangible cultural heritage lists—obscure various strata of other forms of cultural expressions, particularly those of marginalized groups.

    Academic and artistic research on musical heroes and canons have frequently further reinforced dominant structures and perceptions of music, for example the image of the white male composer or the representation of certain musics as part of the world’s cultural canon, often deeply rooted in colonial imaginations and corresponding ethnographies. Feminist critiques of “founding fathers”, their followers and successors as well as investigations of how and why women get lost in canonization processes have become important discourses in the current academic debate. The heroisation of (predominantly white, cis-gendered, male) academics corresponds to the canonization processes they have induced. In ethnographic disciplines, fieldwork’s mystic aura as a heroic quest, as brave endurance promising the ultimate accolade, has added to the deification of the ethnographer as a saviour of culture.

    In the course of the global pandemic, musicians became heroes in times of despair, perceived as both crucial voices and forgotten relicts of a pre-Covid world. As the online world gains unprecedented significance as a social space, canons and cults shift in scope and content. How does the pandemic challenge, how foster heroes and canons in music?

    The conference seeks to address the following thematic streams from critical perspectives with a particular focus on post-colonial, feminist, queer or class-sensitive analysis. We welcome proposals from any discipline, using any methodology and addressing any kind of music and dance, including the spheres of film and theatre. Topic proposals include but are not limited to:

    The historical making of heroes and the processes of canon construction in diverse musical and performing arts worlds and their actors (e.g. the media, critics, nationalists, audiences)

    • Cultural imperialism and Western art music
    • Political functions of musical canons past and present (e.g. nationalism, racism)

    The significance of canons, heroes and cults in the construction of music histories and heritage formations

    De/re/construction of disciplinary canons relating to music and performing arts

    Critical reflections on academic and activist efforts to inscribe female composers in the canon of Western art music

    Racial oppression and the hegemonies of canons

    Economic aspects of canonisation

    The role of audiences, music journalists and critics in creating, fostering and challenging heroes, canons and cults

    The role of sexual abuse in the construction of musical canons and stardom

    Digital archives as tools for the pluralisation of stardom constructions and the construction of alternative music histories

    Places of remembrance, intangible cultural heritage and musical canons

    Museums and exhibitions as tools for the making of local heroes and the construction of musical canons

    Music and dance in religious cults

    Impacts of COVID-19 on processes of musical canonisation and marginalisation

    Abstracts should include theoretical framework, methodology and a “key word” line.

    Please submit your abstract in English (max. 300 words, including literature) for papers and panels as well as workshops and innovative formats, a short biography (max. 100 words) and your institutional affiliation, until 28 February 2021 to

    Decisions on the acceptance of the proposals will be announced by mid-April 2021.

    No registration fee!

    Complimentary funding is available for students and scholars in academic precarity upon acceptance of the proposal and application (if they are able to travel to Reichenau/Rax according to Covid-19 global travel restrictions in effect in August 2021).

  • Location

    How to get to isaScience 2021?

    Please see all locations here on the map!


    • by train from Vienna Central Station (Hauptbahnhof Wien): Trains serve approx. every 30 minutes the destination of Payerbach-Reichenau, travelling time is approx. 1 hour; find your train and ticket here: ÖBB Austrian Railways
    • by car: Highway S6 (arriving from Vienna on the highway A2 or from Graz on the highway A9), take the exit n°17 – Gloggnitz, direction Gloggnitz, then on B27 to Reichenau/Rax
    • by airplane arriving at Vienna International Airport: Trains run from VIE airport to Vienna Central Station or Wiener Neustadt where you have to change the train for Payerbach-Reichenau
    • by shuttle bus from the trainstation in Payerbach-Reichenau


    The train station for reaching Reichenau/Rax is in Payerbach, both villages ar next to each other and our shuttle busses will connect Payerbach and Reichenau!

  • Accomodation

    Double and single bedrooms are reserved for isaScience participants in these following two hotels, one overnight includes breakfast and € 2,40 overnight tax:

    Hotel Marienhof
    Hauptstraße 71-73
    2651 Reichenau an der Rax
    T +43 2666 52995
    Fax +43 2666 52995 580

    isaScience conditions at Hotel Marienhof:
    a single person in a double bedroom (no single bedrooms) € 105,40/night; two persons in a double bedroom € 93,40 each person/night

    Hinterleiten 12
    2651 Reichenau / Rax
    T +43-2666-52291

    isaScience conditions at Flackl-Wirt:
    single bedroom € 81,50 for one night, € 79,50 for two nights, € 77,50 for three or more nights; double bedroom € 61,50/59,50/57,50

    Please download the hotel list for further suggestions here: List of recommended hotels
    Don’t hestitate to contact us for any further information!

  • Complimentary Funding

    Complimentary funding is available for students and scholars in academic precarity upon acceptance of the proposal and application (if they are able to travel to Reichenau/Rax according to Covid-19 global travel restrictions in effect in August 2021).

    Please email your completed application form until 31 July 2021 to

  • Organisers & Contact

    Organisers of isaScience:

    ©Stephan Polzer

    Dagmar Abfalter
    Marko Kölbl
    Rosa Reitsamer
    Fritz Trümpi


    Karoline Feyertag, Mona Torinek


  • Data Protection Declaration


    If you are participating in a meeting via Zoom, you will be visible with your registered name and, in case of having enabled the camera, your picture. If you are participating in the discussion actively with a comment, under use of the microphone function, you are going to be heard and seen by all participants live. The lecture only shall be recorded, not however the discussions thereafter, which will only be available in the live stream. Video and audio recordings of the lecture will be produced for purposes of documentation and information of mdw – University of Music and Performing Arts Vienna (mdw).

    The recording becomes part of the entire meeting records and is going to be permanently accessible to the general public in the media section of mdw (mdwMediathek). Other possible uses include e.g. publication of a transcript or of a video documentation of the meeting series. Please consult our detailed data protection information (

    If you do not want to be part of the recording, please use a pseudonym for participation in the Zoom lecture and do not enable camera or microphone functions while using Zoom. Those are deactivated by default by mdw in its capacity as host. An active participation in the discussion is only possible after activation of those functionalities.


    I have read the data protection information.