KUGscholar (University of Music and Performing Arts Graz)
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Songs for “Great Leaders”: Ideology and political agitation in the music of North Korea
No full textGuest Lecture Series 2022/202
Lenore : Oper in drei Aufzügen mit Musik von Anselm Hüttenbrenner: Ouverture
No full textHerausgegeben von Tiziano Duca. - Partitur. - Graz : Universität für Musik und darstellende Kunst Gra
Weihnachtsfeier UBAM 2023 (07.12.2023)
No full textv.l.n.r. : Sarah Eigner-Pausz, Verena Paul, Robert Schiller, Martina Frate, Ingrid Naftz, Gabriela Semlitsch, Johannes Oppel, Paul Harm, Anna Reijnders, Julia Fuchs, Carl-Ulrich Friederici, Christian Zeller, Rainer Zrinszky, Jonas Thoma, Wolfgang Madlv.l.n.r. : Sarah Eigner-Pausz, Verena Paul, Robert Schiller, Martina Frate, Ingrid Naftz, Gabriela Semlitsch, Johannes Oppel, Paul Harm, Anna Reijnders, Julia Fuchs, Carl-Ulrich Friederici, Christian Zeller, Rainer Zrinszky, Jonas Thoma, Wolfgang Mad
Augmented Handwriting Feedback
No full textDemo video of a prototype exploring mappings for the ecological sonification of handwriting (sonification and auditory augmentation
Getting Started on Computational Musicology and Music Information Research: An Indian Art Music Perspective
No full textCulture-aware and culture-specific approaches to computational musicology and music information research (MIR) have been shown to be effective for analysis of a music culture. Recent efforts as a part of the CompMusic project argued that it is essential to consider the sociocultural specifics of a music tradition to effectively define research problems, collect data and propose methods for analysis. The project also demonstrated the use of such approaches, leading to a collective body of work for MIR in Indian art music. However, it is a considerable effort to define relevant research tasks, collect data and develop specific methods for analysis for each music culture, which often poses a significant entry barrier to start work in the field. One approach in such a scenario is to seek and identify parallel tasks, data and methods from the current state of the art in other music cultures and use them for a preliminary and basic analysis of culture-specific tasks, extending them with culture-specific methods to be more effective and relevant. While it is a sub-optimal compromise, such a perspective will enable preliminary analysis of a music culture using existing methods, and integrate it as a use-case with existing common frameworks and approaches in MIR and data-driven computational musicology. In this chapter, we aid such an approach by describing common concepts, frameworks, approaches, resources, data and methods for computational analysis of music from a perspective that could be useful for the analysis of Indian Art music. With this perspective, it is hypothesized that the currently established methods and tools, along with the datasets and corpora built within the CompMusic project will encourage accelerated research into different research problems relevant to Indian art music. The content of the chapter is targeted at musicians, music students, technology enthusiasts, engineers and researchers to provide them a context of the current state of the art that could help them start their work with computational analysis of Indian art music
A Few Words Before
No full textIntroduction to the volume presenting the motivation for the Symposium on which the volume is based and the preparation, editing, and review of the essays
Dextoria - Left hand setup demo
No full textDemo 1 for the Master thesis: "A system to control electric guitar effects via sound-producing gestures, integrated into the typical ecology of guitarists
Concért classique pour clarinet, cor et orchestre: 1978
No full textPartitur und Stimmen. - 1979 by Alarich Wallner (Philharmonia Styria), A-8052 Graz, Mörikestraße 13, Austri
Form-Functional Ambivalence in Performance: The Third Movement of Beethoven\u27s "Hammerklavier" Sonata in Recordings by Gulda, Brendel, and other Pianists
No full textGeneralized theories of formal functions have yet to adequately capture the temporal experience of musical form. Recent research into musical performance suggests that sounded interpretation may generate temporal formal functions of its own. This thesis is elaborated through a discussion of Friedrich Gulda’s and Alfred Brendel’s contrary readings of Beethoven’s Adagio sostenuto, the third movement of the “Hammerklavier” Sonata Op. 106, within a corpus of 27 analyzed recordings of this movement between 1936 and 2021. Both Brendel and Gulda were in contact with post-Schoenbergian methods of musical analysis in Vienna around 1950. A review of Erwin Ratz’s analysis of Op. 106, iii and the recordings’ differing temporal designs demonstrate the conflict between an architectural conception of the movement, in which caesuras are strengthened, and a process-like interpretation that sustains the impression of continuity and flow across the sections by means of superordinate tempo progressions. This tension between interpretations is superimposed onto the specific formal ambiguity of this movement, which oscillates between sonata and variation form. To incorporate such dimensions of sounded interpretation more consistently into form-analytical methods, a music-theoretical “quantum theory” is required that respects the basic ambivalence of formal function in performed time