KUGscholar (University of Music and Performing Arts Graz)
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Supplementary material to MCPyPan3D
No full textSupplementary material to MCPyPan3D for LEaT Science Talks 202
Lenore : Oper in drei Aufzügen mit Musik von Anselm Hüttenbrenner: N° 7 Finale primo
No full textHerausgegeben von Tiziano Duca. - Partitur. - Graz : Universität für Musik und darstellende Kunst Gra
Perceived spatial extent of local active noise control for broadband disturbances
No full textThis paper investigates the perceived spatial extent of a local active noise control system for different types of disturbances. Several publications determined size and shape of the zone of quiet for various arrangements through analytical and numerical methods. However, these studies have often overlooked human perception, focusing solely on technical properties. Therefore, a listening experiment has been conducted to determine the perceived size of the zone of comfort in a scenario close to reality, using an active headrest setup. Several operational frequency limits for different types and directions of broadband disturbances are examined. Within this experiment, lateral transitions to the front and head rotations at the target position have been considered. Statistically consolidated subjective ratings exhibit limits of around 2 cm to 4 cm for lateral transitions, with an expected decrease towards higher frequencies. When comparing participants’ answers to measurements, the majority of the median responses converge at a point with loudness reduction of 20 %. The rotational limits of 7° to 15° are not as dependent on frequency, but are confined by the distinct perception of the secondary sources as well
Demo videos of the letter day project
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}{/https://doi.org/https://doi.org/10.1145/3678299.3678352
Demo video of the letter day project - R
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
Supplementary Data for "Simulating the Direct-Sound Coverage from the Directivity Measurement of a fully assembled Mini Line Array"
No full textSupplementary Data for "Simulating the Direct-Sound Coverage from the Directivity Measurement of a fully assembled Mini Line Array
An Adorative Posture towards Music and Spiritual Realities
No full textIn 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
The TIME, SPACE, and GESTURE in a crossdisciplinary context
No full textIn any performance genre, the use of time is a fundamental element that shapes the artistic experience. When artists from different disciplines come together to collaborate on the same material, the perception and utilization of time as an artistic device can undergo significant transformations. This exposition delves into the intricate realm of non-verbal artistic communication between performers from diverse disciplines, with a specific focus on how the actions of one artist can profoundly influence and shape the decisions of another.
To explore this dynamic interplay, a compelling case study is presented, examining the enchanting character miniatures for solo piano composed by Alexander Scriabin during the middle and late periods of his life. These exquisite musical pieces are interwoven with the fluidity and spontaneity of contemporary dance improvisation, creating a rich tapestry of artistic expression.
Within this crossdisciplinary collaboration, the exposition sheds light on the ephemeral layers of communication that exist between performers. It delves into thought-provoking topics such as the sense of flow, movement, and structure within the work, the role of physical distance between performers and its intricate relationship with the passage of time, the density of content (i.e., musical material) in the context of crossdisciplinary exploration, and the profound significance of gestural communication between artists.
Through this crosspollination of ideas and artistic exchange, the potential for profound and transformative artistic impact emerges. In essence, this exposition offers a thought-provoking exploration of the transcendent power of artistic communication between performers from different disciplines
Improving Surround Sound Reinforcement at Off-center Listening Positions with Miniature Line Arrays
No full textSuccessful immersive sound reinforcement requires a large sweet area in which the audience is presented with a balanced sound. In smaller venues, state-of-the-art surround sound reinforcement employs point-source loud-speakers producing direct sounds that decay at a rate of 6 dB per distance doubling. In contrast, simulation studies and listening experiments using simulated line arrays have proven that a dual-target design should be pursued for the direct sound decay: 0 dB per distance doubling to preserve the mixing balance and -3 dB to preserve the envelopment at off-center listening positions. This contribution presents a listening experiment comparing different distance decay settings of eight surrounding miniature line arrays of 65 cm total length in a 10.3 m x 12 m room. The experimental results verify the findings of previous, more theoretical studies