pub.mdw

text::conference output::conference proceedings

Partimento - Realizing its Potential

(2025-06-24) Campagne, Augusta, Gjerdingen, Robert, van Tour, Peter, Mortensen, John, Falcone, Fabio Antonio, Messori, Matteo, Pollaci, Marco, Dijoux, Jean-Christophe, Pfeffer, Niels, Börner, Dirk, Schwenkreis, Markus, Trilha, Mário, Curtice, Sean, Sanguinetti, Giorgio, Nelson, Karin, Longenecker, Deborah, Canzano, Nicola, de Bree, Robert, Barbati, Giovanna, Bahn, Catherine, Paraschivescu, Nicoleta

text::journal::journal article

Numerical modelling of elasto-plastic friction in bow–string interaction with guaranteed passivity

(2025-05-21) Matusiak, Ewa, Chatziioannou, Vasileios, van Walstijn, Maarten

In order to simulate the function of bowed string instruments, it is necessary to model the frictional interaction between the bow hair and the vibrating string. This is possible using an elasto-plastic friction model, which has previously succeeded in reproducing experimental data captured on a monochord setup. In this study, this elasto-plastic model is refined to guarantee passivity, and a stable numerical scheme is derived that inherits the energy balance of the underlying continuous model. The approach presented considers a finite-width bow, thus spreading the bow–string interaction over an area. The compliance of the bow hair and the torsional motion of the string are also taken into account. A sound example and animations of the string motion are provided to demonstrate the behavior of the model.

text::book::book part

Philology of Sound

(2025) Urbanek, Nikolaus

The seemingly unproblematic link between sound and philology turns out to be rather fragile on closer inspection. For a long time, dimensions of sonic phenomena were regarded as “secondary parameters,” so that tools for analyzing phenomena of sound were not developed to the same degree as analytical tools for text-related aspects. It is precisely this confrontation between music as text and music as sound, in which the critique of a musicological “forgetfulness of sound” has a precarious starting point in the history of the discipline. This chapter, which is concerned with mapping the intersection between “sound” and “philology,” argues step by step: After briefly recalling the discussion of phenomena of sound in the history of the reception of Mahler’s work, it argues for the formulation of an integral concept of musical sound that includes aspects of materiality, mediality, and performativity. Against the background of a historical and systematic positioning of philology as a scientifically founded and oriented discipline, some virulent fundamental questions of musical philology between author-related editorial philology and philological research into creative musical processes are worked out. This is further elaborated with regard to specific aspects raised in particular by the philological approach to the sound world(s) of Mahler’s symphonic works.

text::book

The Social Organization of Arts

(2025) Kirchberg, Volker, Zembylas, Tasos

In recent decades, social and economic changes have brought about a growing awareness of the role of art and culture in society. As a result, scholars have turned their attention to a sociological view of arts, developing hermeneutic approaches and conducting empirical research that have led to a wealth of insights into the organization of arts. These studies of the creation, production, distribution, evaluation and consumption of arts are clearly sociological, but they include approaches from other disciplines, notably arts management studies and cultural policy research. Volker Kirchberg and Tasos Zembylas critically discuss seven major theories of the social organization of arts in Western societies, with the aim of encouraging further research and theoretical developments.

text::journal

Musiktherapeutische Umschau | Special Issue: Bridging Languages

(2025) Smetana, Monika, Thomas Bergmann, Annegret Körber, Mary Laqua, Nicola Scheytt-Hölzer

text::journal::journal article

tawiab2023 – Tagung wissenschaftliche Abschlussarbeiten und Hochschulschriften-Repositorien

(2024-08-22) Bailoni, Maximilian, Felsberger, Gudrun, Hirschmugl, Werner, Lechner, Manfred, Leitner, Edith, Mayer, Adelheid, North, Tanja, Staudinger, Michael, Sucker, Irina

Am 28. September 2023 fand in der Aula am Campus der Universität Wien die „Tagung wissenschaftliche Abschlussarbeiten und Hochschulschriften-Repositorien“, kurz tawiab2023, statt. Diese stand im Zeichen der Schwerpunkte Urheberrecht, Plagiatsprüfung, Ablieferung von Dissertationen an die Österreichische Nationalbibliothek, Barrierefreiheit und Vergabe von DOIs.

text::journal::journal article

Nineteenth-Century Women in Music: MuGI, Sophie Drinker, Art Song Augmented and BID

(2024-04-02) VanderHart, Chanda

This article focuses on four digital resources for researching nineteenth-century women in music. Two are over two decades old and hail from the German-speaking world: Musik(vermittlung) und Gender(forschung) im Internet (MuGI) and the Sophie Drinker Institut online lexicon. The remaining pair are emerging digital resources based in the United States: Art Song Augmented and the Boulanger Initiative Database (BID).

text::journal::journal article

Dancing Presence and Awareness: 'Khaita – Joyful Dances' as a Mindfulness Practice

(2024-03-15) Leick, Eva

In this article, I argue that the dance practice of ‘Khaita – Joyful Dances’ has been intentionally designed as a mindfulness practice with the aim of fostering presence and awareness by the Dzogchen master Namkhai Norbu. The three Khaita principles of awareness (Dems, Gyu and Drig) revolve around aspects of proprioception, smooth movements, musicality, spatial and group awareness and guide dancers to the here and now. They demand non-judgmental, purposeful and non-reactive attention, hence mindfulness, that results in more mature states of awareness and presence.

text::book::book part

The Rhetoric of Sweetness

(2024) Vicens, Catalina

The study of 16th-century keyboard music, integral to historical performance since the early music revival of the late 20th century, has traditionally focused on structural analysis from notated sources and inferred improvisation practices. A paucity of historical performance sources has left many performance aspects unaddressed, relying heavily on aesthetics established by earlier generations. This article takes a transdisciplinary approach to examine Renaissance keyboard music, unravelling the complex interplay of elements in harpsichord playing, encompassing tangible and intangible factors. It aims to bridge the gap between contemporary aesthetics and the historical context, shedding light on the ideals shaping musical perception and performance. Exploring George of Trebizond’s rhetorical treatise De suavitate dicendi, and its emphasis in the importance of sweetness in rhetoric, the article parallels ideals of speech delivery with the art of harpsichord playing. It introduces a novel method to integrate non-musical historical sources into performance practice, applying rhetorical principles to analyse 16th-century keyboard musical taste, including tempo, rhythm, embellishments, timbral variety, technical aspects, material culture, and the composition-performance relationship. Addressing how to translate theory into guidance for modern performers, the methodology offers a structured framework for studying and performing 16th-century keyboard music, not presenting empirical results but fostering a alternative approach to better understand and convey the era’s musical ideals.

text::book::book part

Singing, Reading, Writing, Playing

(2024) Rabe, August Valentin

This article approaches the question how people practised at a keyboard instrument in the 16th century by evaluating the most extensive source, Tomás de Santa María’s Arte de tañer Fantasia (1565). Avoiding specific problems such as fingering or hand position, this article focuses on how practising can be organized, and how the advice given in the historical source can be applied in today’s didactic practice. As the hints scattered throughout the treatise suggest, learning is guided by an active engagement with singing, solmization and written-out compositions in various notational formats – instead of merely ‘interpreting works’. Equipped with a plethora of musical ideas and motor patterns acquired through vocal and instrumental experience, a skilled musician – in the sense of Santa María – can play polyphonic pieces based on paired imitations spontaneously, which sound as if they were written-out compositions.

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