Für trans* und nichtbinäre Personen bedeutet Elternwerden, mit komplexen Hürden und Diskriminierungen konfrontiert zu sein – etwa hinsichtlich der rechtlichen Anerkennung, der gesundheitlichen Versorgung oder im sozialen Umfeld. Jenn Stoll widmet sich der Frage, wie sich Repronormativität im Rahmen unterschiedlicher Wege des Elternwerdens konstituiert und wie trans* und nichtbinäre Menschen dies navigieren. Aus einer cis- und heteronormativitätskritischen, intersektionalen und durch den New Materialism inspirierten Perspektive bietet die Analyse eine nuancierte und kritische Auseinandersetzung mit den normativen Strukturen des Elternwerdens und geht der Frage nach, was es für reproduktive Gerechtigkeit braucht.

BACKGROUND: Voice is individual and therefore several studies consider voice as a biomarker of health. Focusing on the change of voice parameters of depressed patients can provide an additional, objective measurement of the patient’s individual progress during psychotherapy. This retrospective study is focused on the analysis of voice parameters, specifically prosodic parameters, gathered from sessions and real-world data out of the Munich psychotherapy study (MPS). AIM: To investigate the prosodic parameters of patients with depression, their change over a long-term therapy and correlate them with Beck depression inventory (BDI) data. The analysis on the prosodic parameters aims to find, if and to what extent, a change in the patient’s voice can be discovered and identified. This data is then correlated with already available BDI data of each individual patient. The hypothesis is that voice expression is impacted by depression and changes with the state of depression.

This volume examines a broad spectrum of topics concerning plucked keyboard instruments and keyboard music in the sixteenth century, with a particular focus on Italy and its profound influence on European keyboard culture. Contributions address issues of notation, instrument building, music theory, iconography, as well as the cultural and social roles of keyboard instruments and performance. Bringing together papers and lecture-recitals from a conference held in Bologna in 2024, the volume follows up on ‘Universum rei harmonicae concentum absolvunt‘: The harpsichord in the Sixteenth Century (mdwPress 2024).

Measuring mechanical admittance (velocity over force) is a relevant method for analysing the vibration characteristics of mechanical systems. This generally involves exciting the structure with a known force and measuring the resulting acceleration using suitable sensors. The vibration is usually excited either by a shaker using a sinusoidal input force (sine sweep) or by an impact hammer using a force pulse. Depending on the hammer size and the object being measured, it is very difficult to reproduce excitations by hand. Therefore, it has become standard practice to stabilise the impulse hammer by suspending it like a pendulum. If the excitation is also to be automated, the pendulum assembly can be expanded to include a stepper motor. Commercial systems tested by the authors are expensive and, due to the loudness of the drive motor, are not suitable for acoustic measurements. This paper presents a relatively simple method for implementing an automated impact hammer system using commercial measurement technology and audio components. In addition to design proposals, the paper also discusses first measurement results and the potential for further development.

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.

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.

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.