KUGscholar (University of Music and Performing Arts Graz)
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Developing an understanding of the aesthetic of sound in Japanese Hōgaku: Guest Lecture Series 2022/2023
No full textGuest lecture by Dr Horacio Curti
18 January 202
Venedig, Hatsune Miku und das Meer : Olga Neuwirths Le Encantadas o le avventure nel mare delle meraviglie
No full textExemplary for Neuwirth’s interest in creating sound spaces, this article focuses on her orchestra piece Le Encantadas o le avventure nel mare delle meraviglie for six ensemble groups distributed in space, samples, and live electronics (2014/15) as a case study. Influenced by Luigi Nono and Herman Melville, Le Encantadas aims to immerse the audience into various overlapping soundscapes and spaces, ranging from the lagoon of Venice and the acoustics of a specific church up to very special islander Hatsune Miku. From both a musical analytical and a phenomenological perspective, the paper scrutinizes the compositional strategies and aesthetics of musical immersion
Dextoria - Right hand setup demo
No full textDemo 2 for the Master thesis: "A system to control electric guitar effects via sound-producing gestures, integrated into the typical ecology of guitarists
Material zum AmbiMic64
No full textAnhang und Begleitmaterial zum AmbiMic64 aus der Masterarbeit von Gregor Schmid
Lenore : Oper in drei Aufzügen Scena e Quartetto N° 14 Lenore, Marta, Conrad, Officier
No full textHerausgegeben von Tiziano Duca. - Partitur. - Graz : Universität für Musik und darstellende Kunst Gra
Playing with the Angels
No full textSusanne Scholz http://www.susannescholz.com/researching/dorctoral%20studies/}
Documentary by Manako Ito on the Meeting of the Ensemble gamma.ut with two Renaissance violin players, Odile Edouard And Felix Verry in the Cathedral of Freiberg in Saxony
It’s All About “Being There” : Rethinking Presence and Co-Presence in the Ethnographic Field during and after the Covid-19 Pandemic
No full textEthnomusicologists often move into the field to observe, analyse, and describe the knowledge creation and negotiation practices of a musical tradition. However, the scenarios caused by the COVID-19 pandemic have proven to be a challenge to the practice of our ethnographic work. We were prevented from going to the field and musicians could not meet physically to develop their musicking, partially transferring their practices to various digital platforms. Although the pandemic confronts us with previously unthinkable challenges, some of these situations are not new if we think about musical practices like those of TikTok. Beyond the time of the pandemic, these practices have already shown to be a challenge for various theoretical and methodological conceptions of our ethnographic work, since they do not materialize in concrete practices in a given place. In this article, drawing on my ethnographic research on TikTok musicking from an Austrian perspective, as well as my reflections as an ethnomusicologist during the time of the COVID-19 pandemic, I will discuss the idea of musical geography through practice, as well as the concepts of presence and co-presence, to critically reflect on the ideas of “being there” or “being present”, so important in ethnographic work. In addition to these reflections, I will examine and discuss various experiences lived throughout the musicking of TikTok under a multimedia reality before and during the pandemic, in order to discuss the idea that musical geography through practice can change our perspectives on the field pre- and post-pandemic
