Der Beitrag zeichnet den Übergang der Akademie zur Hochschule für Musik und darstellende Kunst Wien seit den 1950er Jahren nach, beleuchtet die Hintergründe rund um die Genese des Kunsthochschul-Organisationsgesetzes 1970 und gewährt Einblicke in die Anfangsphase der jungen Hochschule.

Session 1: Virtual Analog: JUDY NAJNUDEL, RÉMY MÜLLER, THOMAS HÉLIE and DAVID ROZE: Identification of Nonlinear Circuits As Port-Hamiltonian Systems | PIER PAOLO LA PASTINA, STEFANO D'ANGELO and LEONARDO GABRIELLI: Arbitrary-Order IIR Antiderivative Antialiasing | KURT JAMES WERNER: An Equivalent Circuit Interpretation of Antiderivative Antialiasing | MICHELE DUCCESCHI, STEFAN BILBAO and CRAIG J. WEBB: Non-Iterative Schemes for the Simulation of Nonlinear Audio Circuits | MOHAMMED DANISH, STEFAN BILBAO and MICHELE DUCCESCHI: Applications of Port Hamiltonian Methods to Non-Iterative Stable Simulations of the Korg35 and Moog 4-Pole VCF | FABIÁN ESQUEDA, BORIS KUZNETSOV AND JULIAN D. PARKER: Differentiable White-Box Virtual Analog Modeling | FRANÇOIS G. GERMAIN: Practical Virtual Analog Modeling Using Möbius Transforms | Session 2: Analysis and Manipulation: JASON NARADOWSKY: Amp-Space: A Large-Scale Dataset for Fine-Grained Timbre Transformation | JULIAN NERI, PHILIPPE DEPALLE and ROLAND BADEAU: Damped Chirp Mixture Estimation via Nonlinear Bayesian Regression | LEONARDO FIERRO and VESA VÄLIMÄKI: SiTraNo: A MATLAB App for Sines-Transients-Noise Decomposition of Audio Signals | MARCELO CAETANO and PHILIPPE DEPALLE: On the Estimation of Sinusoidal Parameters via Parabolic Interpolation of Scaled Magnitude Spectra | Session 3: Audio Processing and Effects: PIER PAOLO LA PASTINA and STEFANO D'ANGELO: Optimal Integer Order Approximation of Fractional Order Filters | CHAMP C. DARABUNDIT and JONATHAN S. ABEL: Conformal Maps for the Discretization of Analog Filters Near the Nyquist Limit | SEBASTIAN LAGUERRE and GARY P. SCAVONE: Simulating a Hexaphonic Pickup Using Parallel Comb Filters for Guitar Distortion | YURI DE PRA, FEDERICO FONTANA and STEFANO PAPETTI: Interacting with Digital Audio Effects Through a Haptic Knob with Programmable Resistance | SEBASTIAN ROSENZWEIG, SIMON SCHWÄR, JONATHAN DRIEDGER and MEINARD MÜLLER: Adaptive Pitch-Shifting with Applications to Intonation Adjustment in A Cappella Recordings | JON FAGERSTRÖM, SEBASTIAN J. SCHLECHT and VESA VÄLIMÄKI: One-to-Many Conversion for Percussive Samples | Session 4: Physical Modeling: VINAYAK AGARWAL, MADDIE CUSIMANO, JAMES TRAER and JOSH MCDERMOTT: Object-Based Synthesis of Scraping and Rolling Sounds Based on Non-Linear Physical Constraints | SILVIN WILLEMSEN, STEFAN BILBAO, MICHELE DUCCESCHI and STEFANIA SERAFIN: Dynamic Grids for Finite-Difference Schemes in Musical Instrument Simulations | SILVIN WILLEMSEN, STEFAN BILBAO, MICHELE DUCCESCHI and STEFANIA SERAFIN: A Physical Model of the Trombone Using Dynamic Grids for Finite-Difference Schemes | BRIAN HAMILTON: Air Absorption Filtering Method Based on Approximate Green's Function for Stokes' Equation | MARIUS GEORGE ONOFREI, SILVIN WILLEMSEN and STEFANIA SERAFIN: Real-Time Implementation of a Friction Drum Inspired Instrument Using Finite Difference Schemes | VADIM ZAVALISHIN and JULIAN D. PARKER: On the Equivalence of Integrator- and Differentiator-Based Continuous- and Discrete-Time Systems | Session 5: Spatial Audio and Artificial Reverberation: NARA HAHN, FRANK SCHULTZ and SASCHA SPORS: Higher-Order Anti-Derivatives of Band Limited Step Functions for the Design of Radial Filters in Spherical Harmonics Expansions | JACOB MCQUILLAN and MAARTEN VAN WALSTIJN: Modal Spring Reverb Based on Discretisation of the Thin Helical Spring Model | RAIMUNDO GONZALEZ, ARCHONTIS POLITIS and TAPIO LOKKI: Spherical Decomposition of Arbitrary Scattering Geometries for Virtual Acoustic Environments | JANIS HELDMANN and SEBASTIAN J. SCHLECHT: The Role of Modal Excitation in Colorless Reverberation | LEO MCCORMACK, ARCHONTIS POLITIS and VILLE PULKKI: Parametric Spatial Audio Effects Based on the Multi-Directional Decomposition of Ambisonic Sound Scenes | Session 6: Synthesis: JOSEPH TURIAN, JORDIE SHIER, GEORGE TZANETAKIS, KIRK MCNALLY and MAX HENRY: One Billion Audio Sounds From GPU-Enabled Modular Synthesis | PRATEEK VERMA and CHRIS CHAFE: A Generative Model for Raw Audio Using Transformer Architectures | DARIO SANFILIPPO and JULIAN D. PARKER: Combining Zeroth and First-Order Analysis with Lagrange Polynomials to Reduce Artefacts in Live Concatenative Granulation | TIAGO FERNANDES TAVARES, THALES ROEL P. PESSANHA, GUSTAVO NISHIHARA and GUILHERME ZANCHETTA L. AVILA: Alloy Sounds: Non-Repeating Sound Textures with Probabilistic Cellular Automata | GERARD ROMA, PIERRE ALEXANDRE TREMBLAY and OWEN GREEN: Graph-Based Audio Looping and Granulation | GEORG ESSL: Topologizing Sound Synthesis via Sheaves | Session 7: Machine Learning and Music Information Retrieval: DOMENICO STEFANI and LUCA TURCHET: Bio-Inspired Optimization of Parametric Onset Detectors | GWENDAL LE VAILLANT, THIERRY DUTOIT and SÉBASTIEN DEKEYSER: Improving Synthesizer Programming From Variational Autoencoders Latent Space | ALEKSI PEUSSA, EERO-PEKKA DAMSKÄGG, THOMAS SHERSON, STYLIANOS I. MIMILAKIS, LAURI JUVELA, ATHANASIOS GOTSOPOULOS and VESA VÄLIMÄKI: Exposure Bias and State Matching in Recurrent Neural Network Virtual Analog Models | XIANKE WANG, WEI XU, JUANTING LIU, WEIMING YANG and WENQING CHENG: Transition-Aware: A More Robust Approach for Piano Transcription | NAOTAKE MASUDA and DAISUKE SAITO: Quality Diversity for Synthesizer Sound Matching | XIANKE WANG, WEI XU, JUANTING LIU, WEIMING YANG and WENQING CHENG: An Audio-Visual Fusion Piano Transcription Approach Based on Strategy

Die kooperative Studie MUDIL beforscht die Arbeitsfelder von Musiklehrenden an Schulen und Musikschulen unter den Bedingungen von Distance Learning während der Covid-19-Krise in Österreich. Der vorliegende Forschungsbericht stellt ausgewählte Ergebnisse einer österreichweiten, quantitativen online-Befragung im Sommer 2020 dar, in der Rückmeldungen von 1158 Lehrenden aus Musikschulen und Regelschulen der Sekundarstufe in ganz Österreich und Südtirol ausgewertet werden konnten. Inhalt sind neben einer sozio-demografischen Einordnung der Befragungsergebnisse die technischen und rechtlichen Rahmenbedingungen, die pädagogischen Entwicklungen in Unterricht und Lernen sowie damit verbundene Probleme und Chancen, sowie Ausblicke auf zukünftige Entwicklungen mit Einschätzungen von Potentialen und Risiken.

Beside transmitting musical meaning from composer to reader, symbolic music notation affords the dynamic addition of layers of information by annotation. This allows music scores to serve as rudimentary communication frameworks. Music encodings bring these affordances into the digital realm; though annotations may be represented as digital pen-strokes upon a score image, they must be captured using machine-interpretable semantics to fully benefit from this transformation. This is challenging, as annotators’ requirements are heterogeneous, varying both across different types of user (e.g., musician, scholar) and within these groups, depending on the specific use-case. A hypothetical all-encompassing tool catering to every conceivable annotation type, even if it were possible to build, would vastly complicate user interaction. This additional complexity would significantly increase cognitive load and impair usability, particularly in dynamic real-time usage contexts, e.g., live annotation during music rehearsal or performance. To address this challenge, we present a social data infrastructure that facilitates the creation of use-case specific annotation toolkits. Its components include a selectable-score module that supports customisable click-and-drag selection of score elements (e.g., notes, measures, directives); the Web Annotations data model, extended to support the creation of custom, Web-addressable annotation types supporting the specification and (re-)use of annotation palettes; and the Music Encoding and Linked Data (MELD) Javascript client library, used to build interfaces that map annotation types to rendering and interaction handlers. We have extended MELD to support the Solid platform for social Linked Data, allowing annotations to be privately stored in user-controlled Personal Online Datastores (Pods), or selectively shared or published. To demonstrate the feasibility of our proposed approach, we present annotation interfaces employing the outlined infrastructure in three distinct use-cases: scholarly communication; music rehearsal; and rating during music listening.

Zum ersten Mal setzt sich ein Buch ausführlich und umfassend mit der seit den 1980er Jahren wachsenden österreichischen HipHop-Musiklandschaft von Falco bis Raf Camora auseinander. Dabei werden genredefinierende Charakteristika der HipHopMusik für klassische Subgenres wie BoomBap und Gangsta-Rap sowie für aktuelle Ausformungen wie Trap und Cloud-Rap herausgearbeitet. Über den Aspekt der Glokalisierung wird zudem das Zusammenspiel von globaler Verbreitung und lokaler Aneignung von HipHop-Musik am konkreten Beispiel der österreichischen HipHop-Szene demonstriert.

Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.

Anhand der Geschichte der mdw im 19. Jahrhundert – damals ein von der Gesellschaft der Musikfreunde als private Einrichtung geführtes Konservatorium – wird ein Blick auf die Ursprünge, Entwicklungen und die um die inhaltliche Ausrichtung institutionalisierter Musikausbildung geführten Diskussionen geworfen.

Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players. Citation: Probst, Stephanie (2021). "From Machine to Musical Instrument: The Life and Workings of the Metrostyle Pianola." Journal of Musicology 38 (3): 329–363.