KUGscholar (University of Music and Performing Arts Graz)
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Horizontal and Vertical Voice Directivity Characteristics of Sung Vowels in Classical Singing
No full textSinging voice directivity for five sustained German vowels /a:/, /e:/, /i:/, /o:/, /u:/ over a wide pitch range was investigated using a multichannel microphone array with high spatial resolution along the horizontal and vertical axes. A newly created dataset allows to examine voice directivity in classical singing with high resolution in angle and frequency. Three voice production modes (phonation modes) modal, breathy, and pressed that could affect the used mouth opening and voice directivity were investigated. We present detailed results for singing voice directivity and introduce metrics to discuss the differences of complex voice directivity patterns of the whole data in a more compact form. Differences were found between vowels, pitch, and gender (voice types with corresponding vocal range). Differences between the vowels /a:, e:, i:/ and /o:, u:/ and pitch can be addressed by simplified metrics up to about d2/D5/587 Hz, but we found that voice directivity generally depends strongly on pitch. Minor differences were found between voice production modes and found to be more pronounced for female singers. Voice directivity differs at low pitch between vowels with front vowels being most directional. We found that which of the front vowels is most directional depends on the evaluated pitch. This seems to be related to the complex radiation pattern of the human voice, which involves a large inter-subjective variability strongly influenced by the shape of the torso, head, and mouth. All recorded classical sung vowels at high pitches exhibit similar high directionality
BRIRs from paper "4-Directional Ambisonic Spatial Decomposition Method with Reduced Temporal Artifacts"
No full textbinaural versions of original FOARIR and enhanced HOARIR
Zwischenstopp Graz: Die Pianistin Caroline Perthaler (1810–1873) und ihr Weg durch Europa
No full textSinnlos ist der Datenschutz: eine lyrische Schüttellähmung für Bariton und Klavier
No full text[Text:] F.W. Bernstein. - [Partitur
Audio Example 1: Beethoven, Piano Sonata Op. 106, iii, mm. 45–95: (exposition: secondary theme 2, closing group; development; recapitulation: main theme/beginning)
No full textAlfred Brendel, 1970 recording, ℗ 1971–1978 Universal International Music BV
Utz, Christian. 2022. “Form-Functional Ambivalence in Performance: The Third Movement of Beethoven’s ‘Hammerklavier’ Sonata in Recordings by Gulda, Brendel, and other Pianists.” Music Theroy and Analysis 9, no.
Ludwig van Beethoven, Sonata op. 106 (“Hammerklavier”), third movement, annotated score
No full textAnnotated score of the third movement of Beethoven’s “Hammerklavier” Sonata. The annotations indicate 120 segments according to which tempo data were derived in 27 recordings of this movement