KUGscholar (University of Music and Performing Arts Graz)
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Tango Musicality and Tango Danceability: Reconnecting Strategies in Current Cosmopolitan Tango Argentino Practice
No full textA pilot study on the influence of mouth configuration and torso on singing voice directivity
No full textDirectivity of speech and singing is determined primarily by the morphology of a person, i.e., head size, torso dimensions, posture, and vocal tract. Previous works have suggested from measurements that voice directivity in singing is controlled unintentionally by spectral emphasis in the range of 2–4 kHz. The attempt is made to try to identify to what extent voice directivity is affected by the mouth configuration and the torso. Therefore, simulations, together with measurements that investigate voice directivity in more detail, are presented. Simulations are presented for a piston in an infinite baffle, a radiating spherical cap, and an extended spherical cap model, taking into account transverse propagation modes. Measurements of a classical singer, an amateur singer, and a head and torso simulator are undertaken simultaneously in the horizontal and vertical planes. In order to assess differences of voice directivity common metrics, e.g., horizontal and vertical directivity indexes, are discussed and compared to improved alternatives. The measurements and simulations reveal that voice directivity in singing is affected if the mouth opening is changed significantly. The measurements show that the torso generates side lobes due to diffraction and reflections at frequencies related to the torso\u27s dimensions
Appendix 4-3 perf-time-A-Marriner-StMartin-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 2-2 score-time-C-Karajan-Vienna-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 textMusikerinnen in Graz und in der Steiermark : Ein Beitrag zur Geschichte des bürgerlichen Musiklebens als Handlungsraum für Frauen
No full textDiese Sammelpublikation umfasst neue Beiträge zur musikbezogenen Geschlechtergeschichte in Graz im 19. und 20. Jahrhundert. Es werden Musikerinnen und Musikpädagoginnen ins Zentrum gerückt, deren Leben und Wirken auf der Basis von Archivquellen und privaten Nachlässen dargestellt wird
Bassoon 2: Movement 2
No full textStimme Fagott 2, Mediterranean: Concerto for Guitar and Orchestra, John McLaughlin, orchestrated by Michael Gibbs, 202
Violin 1: Movement 1
No full textStimme Violine 1, Mediterranean: Concerto for Guitar and Orchestra, John McLaughlin, orchestrated by Michael Gibbs, 202
Horn 1: Movement 2
No full textStimme Horn 1, Mediterranean: Concerto for Guitar and Orchestra, John McLaughlin, orchestrated by Michael Gibbs, 202
Horn 2: Movement 1
No full textStimme Horn 2, Mediterranean: Concerto for Guitar and Orchestra, John McLaughlin, orchestrated by Michael Gibbs, 202
Trumpet 1: Movement 2
No full textStimme Trompete 1, Mediterranean: Concerto for Guitar and Orchestra, John McLaughlin, orchestrated by Michael Gibbs, 202