KUGscholar (University of Music and Performing Arts Graz)
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Späte Liebe: Franz Koglmanns Vertonungvon vier Franz-Schuh-Gedichten. Eine musikimmanente Annäherung
No full textKDC: an open corpus for computational research of dastgāhi music
No full textIranian dastgÅahi music is considered as the classical repertory of contemporary Iran. In the 19th century, the melodic modes that developed during its long history were grouped in categories, each of them known as dastgÅah. The dastgÅahi system presents unique features, that have been object of musicological study since its inception. However, computational methods for its research are still scarce, due in good part to the lack of open, well curated corpora. The aim of the KUG DastgÅahi Corpus (KDC) is to contribute to the development of computational corpus driven research for this tradition. KDC is created following the FAIR principles, and in close collaboration with performers and scholars, who contribute to it with annotations and qualitative evaluations. Besides presenting the first version of KDC, in this paper we explore the possibilities that Iranian dastgÅahi music offers to computational research. In order to test the performance of state-of-the-art technologies applied to this music tradition, we present preliminary results for several analytical tasks, and discuss their opportunities and limitations learnt in the process
Zur Plastizität verklanglichte Form : Tempo-, Klang- und Formgestaltung in Eduard Steuermanns Einspielungen von Arnold Schönbergs Sechs kleinen Klavierstücken op. 19 im Kontext der Interpretationsgeschichte des Werkes
No full textDer Beitrag untersucht Eduard Steuermanns sechs vorliegende Tonaufnahmen (1949–63) von Arnold Schönbergs Sechs kleinen Klavierstücken op. 19 (1911) vor dem Hintergrund einer Korpusstudie der gesamten Aufnahmegeschichte (1925–2018). Diskutiert wird, was den spezifisch Steuermann’scher Interpretationszugang zu diesem Zyklus ausmacht und inwiefern er sich von anderen zeitgenössischen, früheren und späteren Zugängen abgrenzen lässt. Dabei werden neben quantitativen Tempo- und Dynamikmessungen der Aufnahmen auch Briefe und Aussagen Steuermanns und anderer Interpret*innen herangezogen. Geprüft wird insbesondere, mit welchen Mitteln Steuermann versuchte die Interpretationsideale der Schönberg-Schule (Primat der Analyse, Deutlichkeit, Fasslichkeit etc.) umzusetzen, aber auch, wo er mit diesen Idealen in Konflikt geriet. Von besonderem Interesse ist schließlich eine Würdigung der großen Flexibilität und Spontaneität in Steuermanns Vortrag, die sich aus den signifikanten Abweichungen zwischen seinen sechs Einspielungen ablesen lässt
\u27Phantasia: Epistemology into Music
No full textWestern musical practices have been wedded to ‘theory’, in particular philosophy, since Classical Antiquity. Studying the connection can shed light on both. The notion of phantasia (to use the Greek form of the term) offers a fascinating case study. Derived from phainesthai, ‘to appear’, phantasia was originally a technical term of classical Greek epistemology (Plato, Aristotle), refined through distinction in Late Antiquity (Augustine). Medieval music theorists then applied the latter version to imagined sounds. During the Renaissance, the notion was further developed to designate practices of musical improvisation. These then crystallized into compositions; from the 16th century on, fantasia, fantasy, Phantasie has turned into the name of a musical genre. In that genre, the long-winded transformation from (and of) epistemology into music has left just a trace of the former – but a trace that has endured over two-thousand years and has even branched out east- and southwards (Türkiye, Arabia, India) is still something
"Zogen einst fünf wilde Schwäne": Variationen über eine litauische Volksmelodie für Flöte und Klavier
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4D-ASDM implementation in matlab
No full textmatlab implementation of 4D-ASDM algorithm from paper "4-Directional Ambisonic Spatial Decomposition Method with Reduced Temporal Artifacts"
... to be provided soo