KUGscholar (University of Music and Performing Arts Graz)
Not a member yet
26224 research outputs found
Sort by
Messe in E-Dur für Chor und Orchester
No full textHerausgegeben von Tiziano Duca. - Partitur. - Graz : Universität für Musik und darstellende Kunst Graz, [2020
Composing Sociality : Toward an Aesthetics of Transition Design
No full textComposing sociality is a group practice in which artwork functions in tandem with natural social systems. In this case the artist may attempt to resolve or extenuate the cognitive dissonance caused by agonistic and dissenting voices (the “noise,” so to speak, within group negotiations) with the artwork they create (whether consciously or not). Even if it is not itself music, musical affect in soundscapes, tones of voice, and voicescapes will, through cooperation including art, function to reduce cognitive dissonance arising in group systems and help them work more smoothly. Composing sociality is a feedback loop: group irreconcilabilities reveal features of the artist’s work that feed back once again into people’s everyday lives. This is one core process imagined at the heart of the collective practice I call composing sociality. The sound artwork can be positioned anywhere socially, spatially, or temporally and may include any imaginable ways that sound and music help the organizational structures of a collectivity, financially, for morale, or otherwise. This may include the artist’s imagined design structures, networking possibilities, or other social interfaces in which they are involved that include the use of sound and music. I find the idea of composing sociality symbolically meaningful politically, as a way sound could hopefully motivate progressive social change and transition corporations from destructive attitudes and policies to more responsible environmental practices
Ein Bett gestalten
No full textIn the process of making bedsteads, Plato claimed, makers look towards the ‘idea’ of the bed. But what is that idea? Two candidates come to mind: shape and purpose. The fact that we identify objects of very different shape, not even involving a bedstead, as beds seems to render purpose conceptually superior. But, then, what is a bed’s purpose? An obvious response appears to be: lying down and sleeping. Yet, first, beds are not needed for that. Secondly, precisely
when a bed is slept on, it is not perceived as a design object. Thirdly, beds constitute a kind of existential furniture, associated with giving birth, making love, suffering illness and dying. All such issues humans really care about, however, are strikingly indifferent towards the design of beds. As elsewhere, the maxim that form follows function fails. Design thinking might rather make headway when beds are conceived of as peculiar spaces within spaces
From Ethnic to Sonic Irishness: The Reception of Irish Traditional Music in Germany
No full textThis article explores factors that inform the perception and performance of Irish traditional music by German practitioners, for whom transcultural exchange and post-ethnic configurations of musical practice appear to have reshaped historically rooted notions of ethnic-national identity, expressed through European folk music genres in the late 19th and early 20th centuries. Tracing historical transcultural musical affinities between Germany and Ireland, as amplified in late 20th century German folk music revival movements, the article also uncovers modern identity politics among German Irish traditional musicians. For these individuals, the idea of ‘Irishness’ in Irish music has become re-contextualised in post-ethnic configurations of ‘Irish’ sonic markers, in references to locality, and the possibility of musical relocation. These discursive changes recursively shape the participatory frame of German Irish music sessions. Here, transitions from ethnic to musical and sonic identity markers appear to entail shifts in the gatekeeping regulations of musical prowess, inclusivity, and session etiquette
Figure 2-3 score-time-C-Marriner-StMartin-T : Edvard Grieg, “Solveig’s Song”, beat duration graphs in score time for first and second instances of the refrain; top-to-bottom: Karajan with the Berlin Philharmonic Orchestra, Karajan with the Vienna Philharmonic Orchestra, Sir Neville Marriner with the Academy of St. Martin in the Fields, Bjarte Engeset with the Malmö Symphony
No full textAppendix 4-1 perf-time-A-Karajan-Berlin-TL : Edvard Grieg, “Solveig’s Song”, loudness-beat duration graphs in performance time comparing the introduction and concluding bars; top-to-bottom: Karajan with the Berlin Philharmonic, Karajan with the Vienna Philharmonic, Sir Neville Marriner with the Academy of St. Martin in the Fields, Bjarte Engeset with the Malmö Symphony Orchestra
No full textFigure-4-1 (mp4) Karajan Berlin : Edvard Grieg, “Solveig’s Song”, refrain, beat durations in score time synchronized with harmonic tension graphs: cloud diameter (dissonance), cloud momentum (chord movement), tensile strain (distance from global key)
No full textAuralization based on multi-perspective ambisonic room impulse responses
No full textMost often, virtual acoustic rendering employs real-time updated room acoustic simulations to accomplish auralization for a variable listener perspective. As an alternative, we propose and test a technique to interpolate room impulse responses, specifically Ambisonic room impulse responses (ARIRs) available at a grid of spatially distributed receiver perspectives, measured or simulated in a desired acoustic environment. In particular, we extrapolate a triplet of neighboring ARIRs to the variable listener perspective, preceding their linear interpolation. The extrapolation is achieved by decomposing each ARIR into localized sound events and re-assigning their direction, time, and level to what could be observed at the listener perspective, with as much temporal, directional, and perspective context as possible. We propose to undertake this decomposition in two levels: Peaks in the early ARIRs are decomposed into jointly localized sound events, based on time differences of arrival observed in either an ARIR triplet, or all ARIRs observing the direct sound. Sound events that could not be jointly localized are treated as residuals whose less precise localization utilizes direction-of-arrival detection and the estimated time of arrival. For the interpolated rendering, suitable parameter settings are found by evaluating the proposed method in a listening experiment, using both measured and simulated ARIR data sets, under static and time-varying conditions