KUGscholar (University of Music and Performing Arts Graz)
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Surrounding line sources optimally reproduce diffuse envelopment at off-center listening positions
No full textListener envelopment has previously been studied in the fields of room acoustics and multichannel sound reproduction. However, the potentially detrimental effect of a directional imbalance remains uninvestigated. This paper presents a listening experiment under anechoic conditions using a ring of 24 loudspeakers. Participants rated perceived envelopment for various loudspeaker subsets fed by incoherent noise signals. Off-center listening positions were simulated for different acoustic source models: −6 dB (point source), −3 dB (line source), or 0 dB attenuation for every doubling of distance. Only the line-source model preserved envelopment off-center, providing a low interaural level difference and a low interaural coherence as perceptual cues
Introduction: Affective Worldmaking: Narrative Counterpublics of Gender and Sexuality
No full textIntroduction to Affective Worldmaking: Narrative Counterpublics of Gender and Sexualit
X is for Hybrid
No full textX is for Hybrid. The German word “kreuzen” means to cross or to hybridise. When spoken—ˈkʁɔɪ̯t s ͡ n—the sonogram of this word has a cross shape itself with both a temporal and a spectral stop gap, creating four quadrants: a crossing means two things meet and depart, both become transformed. The graphics are based on hundreds of recorded instances of the word, each revealing a slightly different articulation. The corpus is clustered into four quadrants and a subset of each cluster is composited after rendering each individual using the Growing Neural Gas algorithm, which imposes its own characteristics
Christian Utz, “Form-Functional Ambivalence in Performance: The Third Movement of Beethoven’s ‘Hammerklavier’ Sonata in Recordings by Gulda, Brendel, and other Pianists.”
No full textaudio and video examples, digital document
Laubhold_Video_Beispiel_2 : Wilhelm Furtwängler/Berliner Philharmonisches Orchester 1953: Beethoven, Sinfonie Nr. 8, I., Takt 1–12. Bildschirmvideo der Sonic Visualiser-Messung.
No full textExzentrisch geformte Klang-Landschaften. Dimensionen des Zyklischen im Lichte von 106 Tonaufnahmen von Schuberts Winterreise aus dem Zeitraum 1928–2020
No full textAuf der Basis einer quantitativen und qualitativen Analyse von 106 Gesamtaufnahmen von Franz Schuberts Winterreise (1827) wird eine ausführliche Diskussion der Strategien der Ausführenden hinsichtlich der makroformalen Gestaltung dieses Zyklus vorgelegt. Hermeneutische und analytische Deutungen des Werkes machen ein Spannungsfeld von zyklischer Kohärenz und Fragmentierung sichtbar und problematisieren in vielfältiger Weise Identitätskonzepte und die Vorstellung musikalischer ›Geschlossenheit‹. Anhand der Vielzahl unterschiedlicher Transpositionsvarianten, die den Aufnahmen zugrunde liegen, wird (auch mittels Perspektiven der Neo-Riemannian Theory) eine neue Sicht auf die makroharmonische, tonartliche Anlage von Schuberts Werk geworfen und gezeigt, wie grundlegend sich bereits die Entscheidung für eine bestimmte Transpositionsfolge auf die zyklische Dramaturgie auswirken kann. Anhand einer Diskussion von Dauern, Initialtempi und Prozentanteilen (Gewichtung von Liedern und Liedgruppen innerhalb der Gesamtdauer) in den untersuchten 106 Aufnahmen werden fünf makroformale Modelle unterschieden, die in manchen Deutungen besonders prägnant realisiert werden: Rahmenmodell, Binnenmodell, Eröffnungsmodell, Finalmodell und Balancemodell. Die Diskussion bezieht statistische Verfahren ein (Korrelations- und Faktorenanalyse), aber auch qualitative Aspekte wie narrative, klangfarbliche oder semantische Facetten der Interpretation. In Bezug auf die prägenden Deutungen Dietrich Fischer-Dieskaus sowie mittels der Auswertung eines Podiumsgesprächs mit zwei Interpreten der Winterreise im Rahmen eines Workshops werden diese Aspekte abschließend im Spannungsfeld zu den Ergebnissen der quantitativen Datenanalyse erörtert. Dieser breite Blick auf die Interpretationsgeschichte und ihre nachhaltig divergierenden Tendenzen legt es nahe, auch für die Gegenwart eine stärkere Diversifizierung von Interpretationsansätzen einzufordern.
On the basis of a quantitative and qualitative analysis of 106 complete recordings of Franz Schubert’s Winterreise (1827), this article presents a detailed discussion of performers’ strategies with regard to the macroformal design of this cycle. Hermeneutic and analytical interpretations of the work reveal a tension between cyclical coherence and fragmentation, and they problematize identity concepts and the idea of “musical unity” in a variety of ways. On the basis of the multitude of transposition variants on which the recordings are based, a new view of the macroharmonic tonal structure of Schubert’s work is suggested (also drawing on Neo-Riemannian theory); it is also shown how the decision to use a certain transpositional variant may have a fundamental impact on cyclical dramaturgy. A discussion of durations, initial tempos, and percentages (weighting of songs and song groups within the total duration) in the 106 recordings examined generates a distinction between five macroformal models, which in some interpretations are implemented concisely: frame model, internal model, opening model, finale model, and balance model. The discussion includes statistical procedures (correlation and factor analysis), but also qualitative aspects such as narrative, tonal, or semantic facets of interpretation. With regard to the formative readings of the cycle by Dietrich Fischer-Dieskau, as well as by evaluating a panel discussion with two performers of Winterreise as part of a workshop, these aspects are finally explored in relation to the results of the quantitative data analysis. This broad view of the cycle’s performance history and its continuously divergent tendencies also suggests the need for a greater diversification of performative approaches in the present
The vocal tutors by Swoboda and Rösner and their relevance for ornamentation in Schubert’s lieder
No full textAs music historiography has made evident, vocal performance practice of Schubert’s time differed substantially from the customs of conventional modern lied singing.
This study begins with biographical details on Anton Rösner and August Swoboda, whose works on vocal pedagogy can be described as relevant sources for contemporary performance practice due to their artistic proximity to Schubert’s circle of performers and the composer himself. Other relevant sources on ornamentation are then considered, before individual ornamental elements in Schubert’s lieder are examined in the light of these sources. Finally, portamento – a phenomenon mostly frowned upon today – is discussed, as it, too must undoubtedly have belonged to the practice of lied singing in Schubert’s time
