Résumé
Through this communication, I would like to analyze the organization of the Eurovision Song Contest in Vienna in 2015, in order to highlight the way in which the city of Vienna and the Austrian state seized this opportunity to reactivate and update the topoi Musikstadt Wien and Musikland Österreich at the dawn of the 21st century. This will provide an opportunity to question the discursive mechanisms used to revitalize the deep connection between city, country and music, an identity rhetoric that has been pushed since the 18th century first by the Habsburger monarchy, and then by the Austrian state.