KUGscholar (University of Music and Performing Arts Graz)
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4. An Adorative Posture towards Music and Spiritual Realities
No full textn this chapter—employing the Anselmian dictum ‘faith seeking understanding’ as a cornerstone—I suggest that there is a certain parallel between the way of being, or ‘posture’, that is instilled in and through music, and the way of being that gives life to the pursuit of divine truth, one that might be called ‘adorative’. I suggest that music’s relationship to theological, religious, and spiritual realities is twofold. One, music can cultivate an adorative attitude that involves seeing more, hearing more (and being more), thereby offering a patterning that acts as a prolegomenon to the theological, religious, and spiritual enterprise. Two, in opening out onto ‘something more’, music may also reveal the very same realities that it guides us towards and prepares us to receive. Further to this, the chapter offers three practical considerations in relation to understanding the relationship between music and spiritual realities by means of the adorative. It resonates with the caution against attempts to delimit the relationship to any conceptually conclusive and general forms or rules. It moves us away from the understanding’s tendency to control and dominate the object of its attention towards an attitude or mode of being that allows the object of attention to be. It allows a coexistence of immanent (horizontal) and absolute (vertical) forms of transcendence
Results of a listening experiment considering different reverberations at the IEM CUBE
No full textResults of a listening experiment considering different reverberations at the IEM CUB
Introduction to Xiqu, the Chinese Traditional Theatre
No full textThis lecture offers a brief glance at the historical perspectives of Kunqu and the passing on of the tradition from a performer\u27s point of view. The main focus will be on the principles of performance, the use of the actor\u27s body, voice, eyes and movements and the routing of energy throughout the body. Vocal enunciation rules to achieve the seamless Kunqu \u27water-polished tunes/ music\u27 will be unravelled. Some major role types and their characteristics will be touched on, and the Painted-faces will add colour and some mysticism to the presentation
Demo video of the letter day project - M
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
Remaking Pittsburgh: Permaculture Soundscapes
No full textCan one compose sociality concurrently with composing a work of sound art and critique both? Inspired by my deep concern at the rapid destruction of the world\u27s environments in the grip of seemingly unstoppable neoliberal capitalism, I undertook research into the ecological philosophy of permaculture farming to see what I could bring to this question. Permaculture philosophy is carried into the sound installation Gongburgh: Steeltown Forests largely via an imaginary idyll of Indonesian village society, contained in the sounds of gamelan, superimposed on an urban garden soundscape and sounds of steel production. This move is partly inspired by ethnomusicology texts contemporaneous with the foundational texts of permaculture. Permaculture and certain ethnomusicology texts (especially from the 80s) share a viewpoint propounding the wisdom of the ancient village unit as the basis of an enlightened artistic/ecological existence. I interrogate permaculture philosophy and its view of indigenous art by positioning questions both in the sound work itself and in the design of the creative process that generated it; I ask how one can compose social relations concurrently with composing music and to what extent the attempt impacts both
Clutch attendance and call parameters are linked to mating success in a glassfrog with paternal care
No full textVivaldi Recomposed: Musical Borrowing, Worldmaking and Musical Listening
No full textThis chapter considers three interrelated ideas, examining how they interact
in Max Richter’s Vivaldi Recomposed (2012), musical borrowing, worldmaking and
musical listening. The idea of musical borrowing is taken from musicologist J. Peter
Burkholder, who understands it as taking something from an existing piece of music (such as a melody or structural plan) and using it in a new piece. While at face value this sounds simple enough, the practice of musical borrowing is multifaceted and complex, something implicitly shown by philosopher Nelson Goodman in Ways of Worldmaking, through his identification of worldmaking processes that are always and already ‘borrowing’ from existing worlds. The chapter outlines the concept of worldmaking, giving an overview of the processes that comprise it. In doing so, the importance of world versions will become clear, as will the role of musical borrowing within the construction of these. I will then show how Richter’s world version of Vivaldi Recomposed coexists with the world version of The Four Seasons (1718-1720) in such a way that gives sense to the claim made by Goodman that «In crucial cases, the real question is not ‘What objects are (permanently) works of art?’ but ‘When is an object a work of art?’ — or more briefly […] ‘When is art?’ […]
DAW filter presets for IKO001017
No full textMCFX Convolver/jconvolver preset (wav files and jconvolver conf files) for decoding 16 Ambisonics channels (3rd order) to 20 loudspeakers for IKO001017, including radial focusing filters and crosstalk cancellation
DAW filter presets for IKO001018
No full textMCFX Convolver/jconvolver preset (wav files and jconvolver conf files) for decoding 16 Ambisonics channels (3rd order) to 20 loudspeakers for IKO001018, including radial focusing filters and crosstalk cancellation.MCFX Convolver/jconvolver preset (wav files and jconvolver conf files) for decoding 16 Ambisonics channels (3rd order) to 20 loudspeakers for IKO001018, including radial focusing filters and crosstalk cancellation