KUGscholar (University of Music and Performing Arts Graz)
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Irish Folk in Graz : Begegnungen im Dublin Road Irish Pub
No full textIrische Folkmusik ist seit langem in der kulturellen Landschaft von Graz etabliert. Heute treffen sich viele Enthusiast:innen zu informellen Sessions (Musik-Stammtischen) in Irish Pubs, während einige von ihnen irische Konzertveranstaltungen in der Stadt besuchen. Andere reisen zum Ursprungsort der Musik, um in Irland ihre Expertise durch den Austausch mit lokalen Musiker:innen auszubauen. Basierend auf meiner Feldforschung in der irischen Musikszene von Graz hinterfragt dieser Beitrag, inwiefern sich translokale Folkmusik-Praktiken in der Stadt mit Fragen nationaler Identität auseinandersetzen. Zudem wird untersucht, inwiefern sich Grazer Folkmusiker:innen mit weiteren Aspekten, wie dem Erlernen irischer Spieltechniken, befassen. Während diese Auseinandersetzung Dynamiken der Authentifizierung in den Vordergrund rückt, setzt sich der Text außerdem mit historischen und diskursiven Manifestationen von „Irishness“ in den aktuellen Perspektiven von Grazer Künstler:innen auseinander.
English:
Irish folk music has long been established in the cultural fabric of Graz. Many enthusiasts meet to play informal sessions in Irish pubs, while some of them frequent the many concert events in the city. Others regularly travel to the music’s place of origin in Ireland, seeking to expand upon their expertise through exchanges with local source musicians. Based on my fieldwork among the Irish-music community in Graz, this article interrogates the extent to which translocal folk-music practices in the city encounter questions of national identity. Moreover, I examine folk musicians’ engagement with other parameters of their social practice, such as the acquisition of instrument-specific techniques. While precisely this engagement foregrounds issues of authentication, the text also sheds light on historical, discursive manifestations of Irishness in the perspectives of Graz-based folk-music practitioners
Orientierungen im Klang : Empirische Studien zum hörenden Erfassen temporaler Strukturen in posttonaler Musik
No full textThe Points of Discontinuity (PoD) research project explored temporal dimensions in listening strategies of post-tonal music. The study was guided by a morphosyntactic approach to musical perception and the hypothesis that performative, creative listening does not depend on a formal musical education, even in cases of highly complex musical structures. A large-scale listening experiment featured a total of 920 tasks: 23 instrumental and electronic works, composed between 1909 and 2010 in a variety of styles and genres, were annotated by 40 participants each, who were asked to define musical segments (with markers graded on a scale from 1–3) and to qualify points of segmentation with predefined descriptors and optional comments. This article provides an in-depth analysis of the results obtained for four pieces: the second of Igor Stravinskij’s Trois pièces pour quatuor à cordes (1914), Pierre Boulez’s Le Marteau sans maître (1952–1957, movement VII), Brian Ferneyhough’s Time and Motion Study I for solo bass clarinet (1971/1976–1977), and Kaija Saariaho’s Lichtbogen for nine musicians and live electronics (1985–1986). “Flat hierarchies”, resulting from the systematic use of interruptions and silences or seemingly endless continuities and transformations, lead to an increased ambivalence and diversity in the temporal location and understanding of listeners. Experts generally show a stronger tendency to incorporate macroformal dimensions, while non-experts seem to rely more on moment-to-moment tensional processes. However, the convergence of expert and non-expert results generally suggests highly individualized approaches to post-tonal temporality, providing evidence for the strong relevance of performative activity in concrete listening acts
Reconstruction of a non-extant instrument size according to a set of Renaissance violins of before 1594
No full textRecreation and reconstruction of an alto instrument by Hans Salger (Bremen) based on the five existing Renaissance violin instruments (small descant, descant, tenor, and two different small bass instruments) from Freiberg Cathedral, built by Paul Klemm in Randeck before 1594.
Manufacture of a bow based on the one-piece model from Freiberg Cathedral (Randeck, Paul Klemm before 1594).
The design of the alto instrument is based on the structural principles of the existing instruments.
Brief decription of any notable impacts resulting from the development of this artistic or creative product.
The five Renaissance violin instruments, which adorn the burial chapel of Freiberg Cathedral together with 25 other instruments, are an invaluable source for today\u27s researchers and musicians, both for music history and for playing practice. The instruments are uniquely well-preserved and complete, together with two violin bows. What is also unique is the fact that not just a single instrument from the hand of a well-known violin maker (Paul Klemm from Randeck) has survived, but five instruments that form an ensemble. However, the ensemble does not correspond to the usual form - this would require two equally tuned instruments in the middle register. An alto instrument is missing. Reconstructing this from the other existing instrument sizes serves to restore a sound world that no longer exists. It enables the performance of all four-part vocal works of the 16th century, which is only possible with the existing instrument sizes with great difficulties that cannot be justified in terms of music history.Rekonstruktion eines Altinstruments nach den vorhandenen fünf Renaissanceviolininstrumenten (small descant, descant, tenor, and two different small bass instruments) aus dem Freiberger Dom, gebaut von Paul Klemm, Randeck bevor 1594.
Entwurf und Konzeption des Altinstruments nach den baulichen Prinzipien der vorhandenen Instrumente. Anfertigung eines Bogens nach dem einteiligen Modell aus dem Freiberger Dom (Randeck, Paul Klemm vor 1594).
Die fünf Renaissanceviolininstrumente, die als Ornamente gemeinsam mit 25 weiteren Instrumenten die Begräbniskapelle im Freiberger Dom schmücken, sind eine unschätzbare Quelle für die heutigen Forschenden und Musikerinnen, sowohl musikhistorisch wie auch spielpraktisch. Die Instrumente sind in einer einzigartig vollständigen Art und gemeinsam mit zwei Geigenbögen erhalten. Ebenfalls einzigartig ist die Tatsache, dass nichts nur ein einzelnes Instrument aus der Hand eines uns bekannten Geigenbauers (Paul Klemm aus Randeck) erhalten ist, sondern fünf Instrumente, die ein ensemble darstellen. Allerdings Entspricht das Ensemble nicht in der überlieferten Form - nämlich mit zwei Instrumenten derselben Stimmung im mittleren Register. Es fehlt ein Alt Instrument. Dieses zu rekonstruieren aus den vorhandenen anderen Instrumentengrößen dient der Wiederherstellung einer nicht mehr vorhandenen Klangwelt. Es ermöglicht die Aufführung von sämtlichen vierstimmigen Vokalwerken des 16. Jahrhunderts, was mit den vorhandenen Instrumentengrößen nur mit großen Schwierigkeiten, die nicht musikhistorisch zu begründen sind, möglich ist.Recreation and reconstruction of an alto instrument by Hans Salger (Bremen) based on the five existing Renaissance violin instruments (small descant, descant, tenor, and two different small bass instruments) from Freiberg Cathedral, built by Paul Klemm in Randeck before 1594.
Manufacture of a bow based on the one-piece model from Freiberg Cathedral (Randeck, Paul Klemm before 1594).
The design of the alto instrument is based on the structural principles of the existing instruments.
Brief decription of any notable impacts resulting from the development of this artistic or creative product.
The five Renaissance violin instruments, which adorn the burial chapel of Freiberg Cathedral together with 25 other instruments, are an invaluable source for today\u27s researchers and musicians, both for music history and for playing practice. The instruments are uniquely well-preserved and complete, together with two violin bows. What is also unique is the fact that not just a single instrument from the hand of a well-known violin maker (Paul Klemm from Randeck) has survived, but five instruments that form an ensemble. However, the ensemble does not correspond to the usual form - this would require two equally tuned instruments in the middle register. An alto instrument is missing. Reconstructing this from the other existing instrument sizes serves to restore a sound world that no longer exists. It enables the performance of all four-part vocal works of the 16th century, which is only possible with the existing instrument sizes with great difficulties that cannot be justified in terms of music history
Memories and Traces of Pre-Unification Space and Place through the Chilean Musical Community in Exile in East Germany
No full textThis paper explores the legacies of the Chilean political song movement nueva canción (new song) on a number of LPs produced in the German Democratic Republic (GDR). Due to the movement’s role in the 1970 election of socialist president Salvador Allende, it was received as a powerful political resource. After the military coup in September 1973, and the concomitant flight of nearly 200,000 Chileans to the GDR and dozens of other countries around the world, the music became a critical global force. This article examines the ways this music participated in imaginaries and visualizations of urban space in the GDR between 1970 and the fall of the Berlin Wall. It argues that recordings of Chilean musical activity from this era might complicate narratives of present-day Berlin and the traces it bears of the former GDR capital. By engaging these discs with discourses around East German nostalgia it proposes alternative ways of considering GDR space in the past, present, and future.
Deutsch:
Dieser Artikel untersucht das Erbe der chilenischen politischen Liedbewegung nueva canción (neues Lied) anhand einer Reihe von LPs, die in der Deutschen Demokratischen Republik (DDR) produziert wurden. Aufgrund ihres Einflusses auf die Wahl des sozialistischen Präsidenten Salvador Allende im Jahr 1970 wurde die Bewegung als mächtige politische Ressource wahrgenommen. Nach dem Militärputsch im September 1973 und der damit einhergehenden Flucht von fast 200.000 Chilenen in die DDR und dutzende andere Länder auf der ganzen Welt wurde die Musik zu einer wichtigen globalen Kraft. Dieser Artikel untersucht, auf welche Art und Weise diese Musik zwischen 1970 und dem Fall der Berliner Mauer zu Vorstellungen und Visualisierungen des urbanen Raums in der DDR beitrug. Es wird argumentiert, dass Aufzeichnungen chilenischer Musikaktivitäten aus dieser Zeit gängige Narrative des heutigen Berlins und seiner Spuren aus der Zeit als DDR-Hauptstadt verkomplizieren können. Durch die Verknüpfung der Aufnahmen mit Diskursen rund um die ostdeutsche Nostalgie ergeben sich alternative Betrachtungsweisen des DDR-Raums in Vergangenheit, Gegenwart und Zukunft
Grazer Klang : Hearing ‘Austrian’ Music Communities and Mapping Musical Graz
No full textThis essay explores the intersection of urbanization, migration, and folk music in Graz, Austria, through a project called Grazer Klang, which documents the diversity of musical communities in the city. In a rapidly changing urban context, where recent migrations and refugee flows have reshaped demographics, this brief study examines how traditional Austrian folk music, as well as other musical cultures, adapt and thrive in urban environments. The project, which maps various music groups, explores questions around the evolution of rural folk traditions in cities, the sustainability of music communities, and how urbanization fosters cross-cultural interactions. The essay also touches on the political and cultural challenges of integration and citizenship in Austria, particularly in light of its recent transformation into an immigration country. The Grazer Klang website, developed as part of the project, showcases the high diversity of musical practices in Graz and acts as a resource for understanding how diverse music communities contribute to the city\u27s cultural fabric and the concept of urban belonging. The essay concludes with future research directions on the role of music in shaping urban identities and how engagement with music from multiple cultures influences individuals\u27 sense of belonging.
Deutsch:
Dieser Essay untersucht die Schnittstelle zwischen Urbanisierung, Migration und Volksmusik in Graz anhand des Projekts „Grazer Klang“, welches die Vielfalt der musikalischen communities der Stadt dokumentiert. In einem sich rasch verändernden urbanen Kontext, dessen Demografie durch jüngste Migrations- und Flüchtlingsströme geprägt wurde, untersucht diese kleine Studie, wie sich traditionelle österreichische Volksmusik sowie andere Musikkulturen in städtischen Umgebungen anpassen und entfalten können. Das Projekt, das verschiedene Musikgruppen der Stadt kartiert, untersucht Fragen zur Entwicklung ländlicher Volksmusiktraditionen in Städten, zur Nachhaltigkeit von Musikgemeinschaften und dazu, wie Urbanisierung interkulturelle Interaktionen fördert. Der Artikel geht auch auf die politischen und kulturellen Herausforderungen von Integration und Staatsbürgerschaft in Österreich ein – insbesondere angesichts der jüngeren Entwicklung Österreichs in ein Einwanderungsland. Die im Rahmen des Projekts entwickelte Website „Grazer Klang“ präsentiert die große Vielfalt musikalischer Praktiken in Graz und dient als Ressource um zu verstehen, wie diverse Musikgemeinschaften zum kulturellen Gefüge der Stadt und zum Konzept der urbanen Zugehörigkeit beitragen. Der Essay schließt mit einem Ausblick auf zukünftige Forschungen zur Rolle von Musik für der Ausbildung urbaner Identitäten und darüber, wie Beschäftigung mit Musik aus multiplen Kulturen das Zugehörigkeitsgefühl einzelner Individuen beeinflusst
Diffuse sound field synthesis: Ideal source layers
No full textCan uncorrelated surrounding sound sources be used to generate extended diffuse sound fields? By definition, targets are a constant sound pressure level, a vanishing active sound intensity, and uncorrelated sound waves arriving isotropically from all directions. Are there ideal source layouts to synthesize a maximum diffuse sound field within? As methods, we employ numeric simulations and undertake a series of considerations based on uncorrelated source layouts at a finite radius. Statistically expected active sound intensity and sound energy density are insightful and highlight the relation of active sound intensity to potential theory. Correspondingly, both Gauß’ divergence and Newton’s spherical shell theorem apply, and they provide valuable insights. In a circular layout, uncorrelated elementary point-source fields decaying by 1/√r ideally compose an extended sound field of vanishing active sound intensity; in spherical layouts this is the case with a 1/r decay. None of the layouts synthesizes a perfectly constant sound energy density inside. Theory and simulation offer a broad basis for understanding the synthesis of diffuse sound fields with uncorrelated sources in the free sound field
Dual-Target Design for Large-Scale Sound Reinforcement: Simulation and Evaluation
No full textProgressively curved line-source arrays became state of the art in large-scale sound reinforcement as they are flexibly adapted to the listening area by well-chosen splay angles between individual elements in the chain of line-source loudspeakers. Recent perceptual studies suggest using a dual-target design to meet contradictory goals in immersive sound reinforcement: 0 dB per doubling of the distance to preserve the direct sound mix, and -3 dB per doubling of the distance to preserve the envelopment at off-center listening positions. A practical implementation has been proposed to achieve both objectives simultaneously by driving the transducers of a curved array either in phase or with individual delays. Its feasibility was verified using measurements on a miniature line array that works for small audiences, but not specifically for large arrays and audiences that would be typically found in live events. To check the applicability of the dual-target approach to large-scale sound reinforcement systems, this contribution presents a simulation study with various professional line-source arrays and a sample measurement
Demo video of the letter day project - G
No full textThe videos are described in the paper: Katharina Gross-Vogt. 2024. The letter day project - designing sonic in- teraction for learning letters . In Proceedings of Audio Mostly 2024 - Ex- plorations in Sonic Cultures (AM ’24). ACM, New York, NY, USA, 9 pages. {https://doi.org/https://doi.org/10.1145/3678299.3678352
Die Synthese von Mystik und Philosophie im Spätwerk Skrjabins am Beispiel der 5. Klaviersonate: Eine Analyse der künstlerischen und spirituellen Dimensionen in der Musik des Komponisten
No full textBachelorarbeit, Universität für Musik und darstellende Kunst Graz, 202
Cultivating Desire: the Case of Musical Dwell-ing
No full textThis chapter takes the Irigarayan notion of ‘to be’ (see Sharing the Fire) as its foundation. Acknowledging that the cultivation of becoming is bound up with the cultivation of sensitivity in and through (non-appropriative) desire, on the one hand, and thereby recognising the importance of relation and mediation, on the other hand, this chapter will explore music in terms of the cultivation of subject–subject relations and the accompanying concept of dwelling