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Performative Form im ersten Satz von Gustav Mahlers Neunter Symphonie. Eine Diskussion der Deutungen von Erwin Stein, Bruno Walter, Leonard Bernstein und Michael Gielen auf Basis einer Korpusstudie zu 121 Aufnahmen
No full textThe concept of “performative composition,” guided by his conducting experience, leads Gustav Mahler to implement variable tempo design as a formal principle in the first movement of his Ninth Symphony (1909–10). The Schoenberg student and conductor Erwin Stein, who held Mahler’s conducting in high esteem, argued that the movement’s tempo design, that is, the various tempi employed throughout the movement’s sections, should be oriented toward the main tempo (Andante comodo). A review of comments on this principle by Theodor W. Adorno, Bruno Walter, and Nicholas Cook is complemented by record-ings of the movement by Walter, Leonard Bernstein, and Michael Gielen in a comparative study of over 100 recordings from 1938 to 2019 with respect to tempo design and “performative form.
Writing Histories of The Regional Amateur: Nostalgic Narratives in Austrian Souvenir Choral Festschrifts
No full textImpulse Responses for paper "Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation"
No full textImpulse Responses for paper "Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation
EASE simulation data for paper "Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation"
No full textEASE simulation data for paper "Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation
Más allá de lo propio y lo otro: Apropiaciones y resignificaciones en las músicas de marimba en Chiapas
No full textMarimbists in Chiapas have developed a dynamic conception of their auditory identity, turning the adaptation and resignificance of music with heterogeneous origins into common practice of this musical tradition. This article seeks, through a journey into the history of the marimba world in Chiapas, to make visible the processes that made possible the negotiation of a praxis of appropriation of music and forms of execution during the development of the marimba in Chiapas, and which would allow the resignificance of the other to become the basis of one’s own auditory knowledge
»I repeat you without beginning or end« Trauma, Spiegel und ›hypermediacy‹ in Michel van der Aas ›chamber opera‹ Blank Out (2015/16)
No full textBei Michel van der Aas Blank Out (2015/16) handelt es sich um eine ›chamber opera‹ für Sopran,
Bariton, Chor und 3D-Film. Die Analyse dieser multimedialen Komposition widmet sich den Bezugnahmen zwischen den verschiedenen Medien, indem einerseits die Partitur und das Libretto
sowie andererseits die Aufführungsdimension betrachtet werden. Argumentiert wird, dass die multimediale Anlage als Rahmen und Werkzeug fungiert, um Prozesse der Erinnerung zweier Menschen, deren Körper die Spuren traumatischer Erfahrungen in sich tragen, auszuloten und überlappen zu lassen. Multimedialität bzw. in diesem Fall »hypermediacy« (Bolter/Grusin) wird dabei als
Affizierungsstrategie gelesen, die zusätzlich zur Bedeutungsintensivierung ein bestimmtes Wirkungspotenzial entfaltet.
Michel van der Aas Blank Out (2015/16) is a ›chamber opera‹ for soprano, baritone, choir, and 3D
film. The analysis of this multimedia composition examines the references between the different
media by looking at the score and the libretto on the one hand and the performance dimension on
the other. It will be shown that the multimedia framework serves as a tool for exploring and overlapping memory processes of two people whose bodies bear comparable traces of traumatic experiences. Multimediality, or »hypermediacy« (Bolter/Grusin) to be exact, is thereby read as a strategy of affectation that, in addition to intensifying meaning, precipitates a certain potential of effec
Lenore : Terzetto N° 11 Lenore, Marta, Conrad
No full textHerausgegeben von Tiziano Duca. - Partitur. - Graz : Universität für Musik und darstellende Kunst Gra
World Wide Women project Collaborations and dialogues with women musicians
No full text2022/2023 Guest Lecture Series
Dr Elina Seye
22 March 202
Supplementary Data for paper "Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation"
No full textSupplementary Data for paper "Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation
Performing Beyond the Platform : Experiencing Musicking On and Through YouTube, TikTok, and Instagram
No full textNowadays it is not easy to imagine mainstream musical practices without considering the role various digital platforms play for them. Although the growing use of digital platforms, especially YouTube and TikTok, has led them to become musical and performative worlds by themselves, many of the musical practices on these platforms are developed beyond a single platform or specific medium, fostering the development of networked creativity and practice. In this article, drawing on my ethnographic research on TikToks musicking from an Austrian context, I will lead a critical reflection on how these practices can and did take place beyond a specific platform. I propose that musicking interactions and interrelations between actors of TikTok, YouTube, or other platforms can and did take place on and through multiple platforms, and beyond physical or digital encounters