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Irish Music, Black Lives Matter, and Festival Activism
No full textGuest Lecture Series 2022/2023
Dr Aileen Dillane
24 May, 2023Guest Lecture Series 2022/2023
Dr Aileen Dillane
24 May, 202
Music, dance, inclusivity, health: bodies and well-being at the centre
No full text2023/2024 Guest Lecture Series
Prof Emerita Ann David
22 November 202
Supplementary material for "Theory of Continuously Curved and Phased Line Sources for Sound Reinforcement"
No full textsupplementary material for the paper "Theory of Continuously Curved and Phased Line Sources for Sound Reinforcement
Classification of Phonation Modes in Classical Singing Using Modulation Power Spectral Features
No full textIn singing, the perceptual term “voice quality” is used to describe expressed emotions and singing styles. In voice physiology research, specific voice qualities are discussed using the term phonation modes and are directly related to the voicing produced by the vocal folds. The control and awareness of phonation modes is vital for professional singers to maintain a healthy voice. Most studies on phonation modes have investigated speech and have used glottal inverse filtering to compute features from an estimated excitation signal. The performance of this method is reported to decrease at high pitches, which limits its usability for the singing voice. To overcome this, this study proposes to use features derived from the modulation power spectrum for phonation mode classification in the singing voice. The exploration of the modulation power spectrum is motivated by the fact that, in singing, temporal modulations (known as vocal vibrato) and spectral modulations hold information of the vocal fold tension. Since there exists no large publicly available dataset of phonation modes in singing, we created a new dataset consisting of six female and four male classical singers, who sang five vowels at different pitches in three phonation modes (breathy, modal, and pressed). Experimental results with a support vector machine classifier reveal that the proposed features show better classification performance compared to state-of-the-art reference features. The performance for the current dataset is at least 10% higher compared to the performance of the reference features (such as glottal source features and MFCCs) in the case of target labels and around 6% higher in the case of perceptually assessed labels
Lecture/Recital: How can computers help us understand dastgāhi music?
No full textPart of a research project for the computational analysis of Iranian dastgahi music.
A detailed description of the event can be found in the following webpage: https://ethnomusikologie.kug.ac.at/veranstaltungen/lecture-recital-dastgahi-musi
Unerhörte Klänge : Zur performativen Analyse und Wahrnehmung posttonaler Musik und ihren historischen Voraussetzungen
No full textDieses Buch versucht ein in der Musik des 20. und 21. Jahrhunderts zunehmend an Bedeutung gewinnendes Verständnis von „Musik als Wahrnehmungskunst“ (Helmut Lachenmann) für die Musikwissenschaft fruchtbar zu machen: Die ineinander verschränkten Konzepte der performativen Analyse und des performativen Hörens rücken Wahrnehmungsprozesse ins Zentrum musikologischer Methodik. Zum einen wird dabei die zentrale Stellung von Klang, Zeit und Raum in der neuen Musik seit 1900 in breite musikhistorische und -ästhetische Diskurse eingebettet, zum anderen wird mit dem Prinzip der musikalischen Morphosyntax klangliche Materialität als Ausgangspunkt hörend-analytischer Forschung begriffen. Wahrnehmung posttonaler Musik ist als performative Aktivität durch die Erfahrungen des Alltags- und Musikhörens vielfältig ausgestaltbar und dabei durch eine Verflechtung von morphologischen und metaphorischen Schichten geprägt. Die Analysen werfen so neue Perspektiven auf ein breites Spektrum posttonaler Instrumentalmusik von Arnold Schönberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino und Isabel Mundry.
This book tries to produce an understanding of “music as an art of perception” (Helmut Lachenmann) – which is becoming increasingly important in the music of the 20th and 21st centuries – in a way that is fruitful for musicology: the intertwined concepts of performative analysis and performative listening move perception processes into the centre of musicological methodology. On the one hand, Christian Utz embeds the central position of sound, time, and space in new music since 1900 in broad music-historical and music-aesthetic discourses, on the other hand, he understands sounding materiality as the starting point for listening-based analytical research, grounded in the principle of musical morphosyntax. As a performative activity, the perception of post-tonal music can be shaped in a variety of ways through the experiences of everyday auditory perception and musical listening and is characterized by an interweaving of morphological and metaphorical layers. The analyses reveal new perspectives on a broad spectrum of post-tonal instrumental music by Arnold Schoenberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino, and Isabel Mundry
Supplementary Material for "Miniature Line Array for Immersive Sound Reinforcement"
No full textSupplementary Material for "Miniature Line Array for Immersive Sound Reinforcement
