KUGscholar (University of Music and Performing Arts Graz)
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Finding Tori: Self-Supervised Learning for Analyzing Korean Folk Song
No full textIn this paper, we introduce a computational analysis of the field recording dataset of approximately 700 hours of Korean folk songs, which were recorded around 1980-90s. Because most of the songs were sung by non-expert musicians without accompaniment, the dataset provides several challenges. To address this challenge, we utilized self-supervised learning with convolutional neural network based on pitch contour, then analyzed how the musical concept of tori, a classification system defined by a specific scale, ornamental notes, and an idiomatic melodic contour, is captured by the model. The experimental result shows that our approach can better capture the characteristics of tori compared to traditional pitch histograms. Using our approaches, we have examined how musical discussions proposed in existing academia manifest in the actual field
recordings of Korean folk songs
ABsmoother: DemoVideo for a project in sonic interaction design
No full textImprovement of physical exercises through auditory feedback
in an action-perception-loo
Schaltplän AmbiMic64: aus der Masterarbeit von Gregor Schmidt
No full textSchaltpläne des modularen 64-Kanal Mikrofonarray
Reimagining Formal Functions in Post-Tonal Music : Temporality in the Semanticized Form of Salvatore Sciarrino
No full textModernist concepts of temporality (“non-linear time”) are variously cross-related to conventional concepts and qualities of time (“linear time”) (Kramer 1988, 20–65). This is exemplified by Salvatore Sciarrino’s creative method, which reconciles more conventional elements of discursive organicist design (processes of accumulation, multiplication, and transformation) with strategies of rupture and formal deterioration (“little bang,” “window form”). This unique mixing of “linear” and “non-linear” strategies is staged within a soundscape of mostly minimal dynamics and reduced activity at the edge of silence, sensitizing the listener toward micro-alterations. This article introduces key strategies in Sciarrino’s temporal form based on analytical investigations of three works that differ substantially in duration, density, and genre: Quintettino no. 1 (1976, ca. 3 min.) for clarinet and string quartet, Efebo con radio (1981, ca. 11 min.) for voice and orchestra, and the music theater work Da gelo a gelo: 100 scene con 65 poesie (2006, ca. 110 min.). My analyses are framed by a discussion of the relationships between musical beginnings or endings and constellations of duration and density. Sciarrino’s works prominently feature a semanticization of musical material by metaphorical, agential, or paratextual means that is also evident in his interpretation of Anton Webern’s orchestral piece op. 6, no. 4 (1909). The analyses demonstrate how the composer’s explicit and implicit semanticization of his material allows the listener to understand Sciarrino’s works as reimaginations of conventional formal functions in which the familiar appears unfamiliar
Ultralight circumaural open headphones
No full textAudio rendering in AR/VR applications is typically combined with acoustically transparent headphones to facilitate immersion. When developing such headphones today, the challenge is not the absence of signal processing capacity, anymore. Consequently, hardware development can focus on the most essential electro-acoustic properties. This allows to consider radical acoustic headphone designs without sacrificing audio quality. We present an ultralight circumaural open headphones with ear cups based on bionic design, and their step-by-step tuning. The prototype is open access, 3D-printable, and avoids any excess material. Hereby excellent acoustic transparency is accomplished and verified in comparative measurements with industry-standard headphones
Theory of continuously curved and phased line sources for sound reinforcement
No full textTo supply large audience areas uniformly with amplified direct sound, large-scale sound reinforcement often employs line-source loudspeaker arrays adapted to the listening area by either adjusting the angles or delays between their individual elements. This paper proposes a model for such or smaller line-source loudspeakers based on a delayed Green’s function integrated over an unknown contour. For a broad frequency range, stationary phase approximation yields a differential equation that we utilize to find a curve and delay progression providing direct sound levels rolling off with −6β dB per doubling of the distance; curve and phase designs can also be mixed to meet simultaneous targets using multiple design parameters β. The effectiveness of the formalism is proven by simulations of coverage, directivity, and discretization artifacts. Measurements on a miniature line array prototype that targets medium-scale immersive sound reinforcement applications verify the proposed theory for curvature, delay, and mixed designs
Detecting simultaneous directions of arrival in an Ambisonic signal with REVEB-ESPRIT
No full textWe present a purely real-valued variant of the extended vector-based EB-ESPRIT (REVEB-ESPRIT), an algorithm that estimates multiple simultaneous directions of arrival (DOAs) from Ambisonic signals, which are either encoded mono sounds or captured via a spherical microphone array. Our proposal uses fully real-valued spherical harmonics and DOA vectors and presents the required extended set of recurrence relations. Moreover, we propose a real-valued joint Schur decomposition using inverse iterations to efficiently solve the simultaneous diagonalization problem that is inherent in EB-ESPRIT algorithms. We evaluate the proposed algorithm in free-field conditions with a varying number of simultaneously estimated DOAs and varying signal-to-noise ratios. Our analysis shows a slight increase in speed and accuracy due to the proposed real-valued formalism, and in particular a noticeable increase in speed and accuracy when detecting many simultaneous DOAs. A reference implementation of the proposed algorithm is provided online
Der Abschied als Telos : Herbert von Karajans Einspielung des Lied von der Erde im Kontext der Mahler-Interpretation 1960er und 70er Jahre
No full textPersonality traits differentially affect components of reproductive success in a Neotropical poison frog
No full textCeltic Alterity : A Persistent German Imaginary of Irish Folk Music
No full textCombining ethnographic and historical research, this essay unpacks longue-durée discursive tropes of Celtic alterity in the context of Germany’s romantic investment in Irish folk music. It begins with an examination of how nineteenth-century German travelogues on Ireland circulated among the bourgeois and upper-class intelligentsia a web of nostalgically inflected, yet remarkably persistent, German imaginaries of Irish musicality, sentimentality and a political alignment with anti-colonial resistance, while also framing Irish folk music as a mythical repository of the natural, the sensuous and the sublime. Introducing the ethnographic voices of folk revivalists who were operational in the German Democratic Republic (GDR) during the 1970s and ‘80s, the essay proceeds to assessing the manner in which late-twentieth-century German artists encountered these sentimental and politicised iterations of Celtic alterity through the expressive media of music and song, as opposed to top-down intellectual discourse. It is argued that the profound identification with Irish rebel songs enabled East German artists to adopt, perform and ultimately rebuild, under the official banner of international anti-imperialist solidarity, a form of national pride that was considered more socially acceptable than the expression of patriotic German leanings. Furthermore, the essay suggests that Svetlana Boym’s (2001) concept of ‘sideways nostalgia’ provides a particularly useful theoretical scaffold for problematising this more recent iteration of Ireland’s remarkable significance as a projection screen for German longings. In terms of its overarching trajectory, then, it is the long history of precisely this affinity narrative with a proximal European musical sibling tradition that the essay purports to trace back to its genesis in the Romantic period