KUGscholar (University of Music and Performing Arts Graz)
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The Anthropocene Maze: An interactive listening experience of our ecological footprint on selected habitats
No full textSupplementary material to the paper as published at the DACA - data art for climate action - conference 2022
Marienleben : Oratorium [Stimmen, Oboe, Englischhorn]
No full text[Text:] Bruder Philipp von Seitz (um 1300
La quale fu cantata molto bene – The performances of Alessandro Striggios’ monumental 40-part compositions in Munich 1567/68
No full textIn the 1560s Alessandro Striggio composed monumental works such as his Missa sopra Ecco si beato giorno à 40 and a 40-voice motet, both of which can be proven to have been performed in Munich in 1567 and 1568. Analysis of the performing forces of Munich’s Cantorey of this time concludes not only that the instrumental participation of these performances must have been significant, but also that the works were transposed downward. Furthermore, a hypothesis is proposed that the Munich performance of an untitled 40-voice motet in 1568 involved Striggio’s Ecce beatam lucem à 40, which itself may constitute a contrafactum of Ecco si beato giorno, a madrigal that circulated in copies during the decade
Evaluation of an E-Learning Tool for Augmented Acoustics in Music Education
No full textAugmented Practice Room is an e-learning tool, developed by the project team, that allows music students to practice in different acoustical environments while remaining physically in their classroom or at home. Music teachers and students from violin, ‘cello, piano, clarinet, guitar, and pop-singing classes have collaborated in testing it for a semester and giving the authors continuous feedback. In this exploratory phase, we used methods such as group discussion and semi-structured diary, with the purpose to gather as many different perspectives and reactions from participants as possible. The analysis of the collected data showed that the tool was in general positively perceived and considered useful. In particular, results merged into a four-dimensional model that describes the impact of the tool on practice: musical expressiveness, level of attention or arousal, instrument-specific technical issues, and emotional state
