University of Music and Performing Arts Graz

Acoustic measurements of sources in non-ideal acoustic environments, often the case in industrial product development, issue challenges in source characterization. This study investigates the room-acoustical effects of a bespoke fan test facility on aeroacoustic source characterization via a second-order scheme of spherical harmonics of the half-space. An experimental test of a compact monopole-like sound source reveals the influence of the room's transfer function at low frequencies. Applying the scheme to a benchmark case of a low-pressure axial fan at different loading conditions showcases a satisfactory estimation of sound power and directivity.

When localizing sound sources in natural or virtual environments, multisensory integration that combines auditory and visual cues is often involved. This study aims to determine the effect of (non-)individual head-related transfer functions (HRTFs) on sound source localization in the presence of visual cues. Participants (N = 16) were seated in a hemispherical loudspeaker arrangement, and their task was to indicate the perceived direction of pink-noise bursts. The conditions included localization of real loudspeakers and virtualized loudspeakers based on binaural rendering with (non-)individual HRTFs. The horizontal spacing of the visible loudspeakers was 30 degrees or larger and the vertical spacing was varied between 30 degrees and 15 degrees, to focus on vertical discrimination. The results of a static localization experiment (no head movements during playback) demonstrated an increased rate of vertical local confusions using non-individual binaural room impulse responses (BRIRs) of the KU100 dummy head compared to individual BRIRs. Dynamic auditory-visual localization with non-individual HRTFs suffered from vertical uncertainty and bias in the frontal area, where local confusion rates were consistent with the static experiment. In conclusion, the horizontal localization mapping of dynamic binaural rendering with non-individual HRTFs was comparable to real loudspeaker reproduction, while the vertical mapping was significantly impaired.

Zusammenfassung Musiktherapie kann Menschen mit schwerwiegenden psychischen Problemen einen Spielraum jenseits von verbaler Sprache geben. Indem musikalische Parameter in den vorsprachlichen Bereich des leiblichen und psychischen Erlebens sowie in den transzendenten Raum reichen, können sie essenzielle Ressourcen zugänglich machen. Der Fallbericht eines Patienten, der an einer komplexen Traumafolgestörung und an einer schweren psychischen Erkrankung leidet, zeigt seinen Weg vom Bemühen um Kontrolle einer als reizüberflutend erlebten Welt, über körperliche Erfahrungen von Klang und Rhythmus im Instrumentalspiel hin zu Möglichkeiten, sich zunehmend bewusst zu regulieren. Das religiös konnotierte Wort „Herrlichkeit“ aus seinem Wortschatz regt die Musiktherapeutin zur Reflexion über die spirituellen Ressourcen des Patienten an. Seine eigene Deutung des Wortes in der Situation lässt ahnen, wie er Halt findet im Raum seiner Wahrnehmung, wie er sich im Spielraum der Therapie als lebendig erfährt und wie er einen Zusammenhalt im gemeinsamen Lebensraum mit anderen zu denken lernt.

The intertwined relationship between ‘development’, ‘law’, and the ‘international’ is rooted deeply in the formation of the contemporary world. Since the end of the Second World War, ‘international law’ and ‘international development’ have become two of the most prominent secular languages through which competing aspirations about a better world are articulated and put into practice, especially in terms of the ‘developing’ world. Regardless of decades of critical scholarship, however, these fields continue to operate according to a universal and transcendent normative model in which a set of imagined (Western) standards provide a reference point against which developing states, their citizens, and natural environments are measured and disciplined. This commensuration has tended to deradicalise, if not derail, endogenous initiatives to redefine development, or to pursue other forms of global well-being. Offering the first overview of the field of international law and development of its kind, and bringing together scholars from both the Global South and the Global North, this Handbook is an unmissable resource for those interested in the past, present, and future of the world.

Why is the thematisation of gender linked to social criticism and criticism of music institutions as well as criticism of music as institution? Institutions and institutionalised organisations should be regarded as intermediate instances located between society as a whole and the individual. In them, gender relations are created and reproduced, discussed, and transformed. The thematisation of gender and the associated criticism within institutions then means, above all, dealing with gender-specific power relations. Moreover, the spectrum of approaches in art and art studies for thematising gender ranges from criticism of the exclusion of women from history to criticism of the dominance of certain discourses. Therefore, the integration of gender in the field of music implies aspects and measures of institutional gender equality policy as well as fundamental perspectives critical of music discourses, music theory, and musicology, and thus also institutionally critical perspectives.

This article investigates audiovisual music performances in extended realities setups that are composed, but not score based, rather emerging from a discursive process of interrelating human performers and computational counterparts such as virtual performance partners, virtual instruments, and potentials related to particular spaces. Rooted in notions of earlier avant-garde music and digital games, the performances are understood to emerge from a bottom-up process of relating human-technological agencies. A dichotomy of preexistent physical and virtual realities that would be extended or mixed is consequently replaced by a notion of entangled realities, as the artistic reality emerges with the performance.

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.

Here we present a computational approach to identifying melodic patterns in a dataset of 145 MusicXML scores with the aim of contributing to centonization theory in the Moroccan tradition of Arab-Andalusian Music – a theory in development by expert performer and researcher of this tradition, Amin Chaachoo. Central to his work is the definition of a set of characteristic patterns, or centos, for each ṭab‘, or melodic mode. We apply three methods: TF-IDF, Maximally General Distinctive Patterns (MGDP) and the Structure Induction Algorithm (SIA) to identify characteristic patterns at the level of ṭab‘. A substantial number of the centos proposed by Chaachoo are identified and new melodic patterns are retrieved. A discussion with Chaachoo about the obtained results promoted the elicitation of other categories of recurrent patterns in the tradition different from the centos, contributing to a deeper musicological knowledge of the tradition.

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.