The role of women artists in the theatre reform of the early 20th century is usually underestimated. This paper strives to reassess the agency of a female performer (Gertrud Eysoldt) in this process, concentrating on the premiere production of Elektra by Hugo von Hofmannsthal (1903, Kleines Theater). Hofmannsthal wrote his version of Elektra not only for Max Reinhardt’s company (which he considered to be a new kind of theatre) but also specifically for Eysoldt, and this article focuses on the communication between them. The main sources for this research are texts written by the actress: her article for a newspaper and her letters to Hofmannsthal (published in 1996) and Hermann Bahr (unpublished, Austrian Theatre Museum). These texts are analysed more from the perspective of their poetics than from the perspective of the facts they convey. Eysoldt’s autobiographical writings reveal an unexpected facet of the 'dionysism' that may have attracted Hofmannsthal. Finally, a question is raised about the meaning of the shift that Hofmannsthal made by offering the performer a re-writing of a foundational myth of patriarchal culture.

This paper provides a case study of the artistic research project Confronting Realities – First Steps. Working on Cinematic Autosociobiographies conducted at the Film Academy Vienna/ mdw – University of Music and Performing Arts Vienna, Austria as well as a reflection on the relationship between its research approaches, theory and criticism. Drawing from literary autosociobiographies of Ernaux (Les Années, 2008) and Éribon (Retour à Reims, 2009), the aim was to explore, describe and produce cinematic autosociobiographies - autobiographies in regard to and contextualized within the frame of social class and larger historical developments. Over the course of 10 months a multi-level project was designed and conducted to explore the format of cinematic autosociobiographies within the course “Research Project II” of MA and BA Students for Directing, Script Writing as well as Film and Media Studies. A group of 8 external performers from various backgrounds joined the project. The project was designed on four levels: Level (1) of Autosociobiographical Exploration that created three exploration groups with varying composition – 14 artist researchers/ film and acting students from Europe, refugee artists from Iran and Syria - to explore, make accessible and contextualize one’s sociobiography. Level (2) of Cinematic Forms and Techniques intended to develop narratives, cinematic techniques and formats of cinematic autosociobiographies - 2 short films were produced in that context that show the diversity of cinematic form and content on the levels of visuals, framing, audio, editing as well as in the narrative and the narrative development. Level (3) of Interdisciplinary and Theoretical Contextualization intended to build a strong interconnection between artistic, theoretical and interdisciplinary research about social class, cinematic forms and collaborative strategies of film production. Level (4) of Reflection and Evaluation intended to create a reflective framework, especially focusing on the collaborative aspect of filmmaking, ethical aspects of working with autosociobiographies and of researching/ creating in an intimate way in an academic environment. Cinematic autosociobiographies have shown to provide unique artistic research approaches and tools to convey collective movements, to find relations between different realities as well as creating ways of making them accessible. Further research is still needed and planned.

Unruhestifterin. Die Studentin Lilly Pollak war Anfang der 1930er-Jahre federführend bei Protesten an der Akademie für Musik und darstellende Kunst – und wurde dafür vom Studium ausgeschlossen.Das Forschungsprojekt Klingende Zeitgeschichte zeichnet Pollaks Lebensweg bis ins Exil nach.

In 2018, the Music Therapy Research Centre Vienna (WZMF) conducted a national survey of the professional situation of music therapists in Austria. Following a previous survey from 2011, this study aimed to provide current data and to illustrate changes in the professional field. Since 2009, music therapy in Austria has been regulated by the Music Therapy Act. All working music therapists must be registered and therefore constitute a homogeneous group, which enables systematic research in the field.An invitation to take part in an online survey was sent to all 405 music therapists who were registered in October 2018. The survey covered the music therapists’ current working situation including workplace, hours of work per week, fields of work as well as legal and financial issues.With a response rate of 73.8 % (299 people), the results offer representative data from 380 workplaces. In general, the findings show an increase in music therapy services, which are offered most frequently for children and adolescents with developmental or behavioural problems (22.5 %) and for adults with mental health problems (21.5 %).The high response rate means that the results provide representative data for the situa­tion of music therapists in Austria. Beyond that, this data may also be used as a reference to support professional development internationally

Hochschulen und Universitäten, natürlich auch Kunstuniversitäten, stehen vor der Herausforderung, sich mit breiter Teilhabe und Exzellenz auseinanderzusetzen. In diesem Beitrag soll dargestellt werden, dass breite Teilhabe und Exzellenz keinen Widerspruch darstellen müssen, sondern die aus einer breiten Teilhabe resultierende Diversität bei geeigneten Vorkehrungen und Maßnahmen bereichernd für einen Gesamtprozess wirken kann. Für die Ausführung wurde das Beispiel der inklusiv musizierenden Band All Stars Inclusive an der Universität für Musik und darstellende Kunst Wien gewählt, anhand dessen teilhabe- und exzellenzfördernde Faktoren dargestellt wurden.

Session 1: Spatial Audio and Artificial Reverberation I: PATRIK LECHNER: Room Impulse Response Estimation Using Signed Distance Functions | OTTO PUOMIO, TAPANI PIHLAJAKUJA and TAPIO LOKKI: An Acoustic Paintbrush Method for Simulated Spatial Room Impulse Responses | KAROLINA PRAWDA, SILVIN WILLEMSEN, STEFANIA SERAFIN and VESA VÄLIMÄKI: Flexible Real-Time Reverberation Synthesis with Accurate Parameter Control | ANDY SARROFF and ROTH MICHAELS: Blind Arbitrary Reverb Matching | ACHILLE AKNIN, THÉOPHILE DUPRÉ and ROLAND BADEAU: Evaluation of a Stochastic Reverberation Model Based on the Source Image Principle | MAARTEN VAN WALSTIJN: Numerical Calculation of Modal Spring Reverb Parameters | SADJAD SIDDIQ: Optimization of Convolution Reverberation | Session 2: Virtual Analog: LASSE KÖPER and MARTIN HOLTERS: Taming the Red Llama—Modeling a CMOS-Based Overdrive Circuit | DAVIDE ALBERTINI, ALBERTO BERNARDINI and AUGUSTO SARTI: Antiderivative Antialiasing in Nonlinear Wave Digital Filters | KURT JAMES WERNER and RUSSELL MCCLELLAN: Moog Ladder Filter Generalizations Based on State Variable Filters | RÉMY MÜLLER and THOMAS HÉLIE: Fully-Implicit Algebro-Differential Parametrization of Circuits | Session 3: Audio Processing and Effects: ELOI MOLINER, JUSSI RÄMÖ and VESA VÄLIMÄKI: Virtual Bass System With Fuzzy Separation of Tones and Transients | JATIN CHOWDHURY: Stable Structures for Nonlinear Biquad Filters | PURBADITYA BHATTACHARYA, PATRICK NOWAK and UDO ZÖLZER: Optimization of cascaded parametric peak and shelving filters with backpropagation algorithm | ALEXANDER RAMIREZ, VIKAS TOKALA, ANTONIN NOVAK, FREDERIC ABLITZER and MANUEL MELON: Bistable Digital Audio Effect | ONDŘEJ MOKRÝ, PAVEL RAJMIC and PAVEL ZÁVIŠKA: Flexible Framework for Audio Restoration | TRAVIS SKARE: GPGPU Patterns for Serial and Parallel Audio Effects | Session 4: Synthesis: KASPER NIELSEN: Practical Linear and Exponential Frequency Modulation for Digital Music Synthesis | JATIN CHOWDHURY, ELLIOT K. CANFIELD-DAFILOU and MARK RAU: Water Bottle Synthesis with Modal Signal Processing | GERARD ROMA, OWEN GREEN and PIERRE ALEXANDRE TREMBLAY: Audio Morphing Using Matrix Decomposition and Optimal Transport | TIM KIRBY and MARK SANDLER: Advanced Fourier Decomposition for Realistic Drum Synthesis | PHILIPP SCHMALFUß, MAX NEUPERT and BJÖRN KESSLER: Efficient Snare-Drum Model for Acoustic Interfaces with Piezoelectric Sensors | JAKE DRYSDALE, MACIEK TOMCZAK and JASON HOCKMAN: Adversarial Synthesis of Drum Sounds | DOMINIK CHAPMAN: Complementary N-gon Waves and Shuffled Samples Noise | ZDENĚK PRŮŠA, NICKI HOLIGHAUS and PETER BALAZS: Accelerating Matching Pursuit for Multiple Time-Frequency Dictionaries | Session 5: Physical Modeling: MAXIMILIAN SCHÄFER, RUDOLF RABENSTEIN and SEBASTIAN J. SCHLECHT: A String in a Room: Mixed-Dimensional Transfer Function Models for Sound Synthesis | ABHIRAM BHANUPRAKASH, MAARTEN VAN WALSTIJN and PAUL STAPLETON: A Finite Difference Model for Articulated Slide-String Simulation | JUDY NAJNUDEL, THOMAS HÉLIE, RÉMY MÜLLER and DAVID ROZE: A Power-Balanced Dynamic Model of Ferromagnetic Coils | Session 6: Spatial Audio and Artificial Reverberation II: SEBASTIAN J. SCHLECHT: FDNTB: The Feedback Delay Network Toolbox | JON FAGERSTRÖM, BENOIT ALARY, SEBASTIAN J. SCHLECHT and VESA VÄLIMÄKI: Velvet-Noise Feedback Delay Network | NILS MEYER-KAHLEN, SEBASTIAN J. SCHLECHT and TAPIO LOKKI: Fade-In Control for Feedback Delay Networks | ORCHISAMA DAS, JONATHAN ABEL and ELLIOT K. CANFIELD-DAFILOU: Delay Network Architectures for Room and Coupled Space Modeling | KURT JAMES WERNER: Energy-Preserving Time-Varying Schroeder Allpass Filters | TIM LÜBECK, HANNES HELMHOLZ, JOHANNES MATHIAS AREND, CHRISTOPH PÖRSCHMANN and JENS AHRENS: Perceptual Evaluation of Mitigation Approaches of Impairments Due to Spatial Undersampling in Binaural Rendering of Spherical Microphone Array Data: Dry Acoustic Environments | ERIC MÉAUX and SYLVAIN MARCHAND: Interaural Cues Cartography: Localization Cues Repartition for Three Spatialization Methods | Session 7: Machine Learning and Analysis: SHAHAN NERCESSIAN: Neural Parametric Equalizer Matching Using Differentiable Biquads | BLAI MELÉNDEZ-CATALÁN, EMILIO MOLINA and EMILIA GÓMEZ: Relative Music Loudness Estimation Using Temporal Convolutional Networks and a CNN Feature Extraction Front-End | ALEC WRIGHT and VESA VÄLIMÄKI: Neural Modelling of Time-Varying Effects | YUTA KUSAKA, KATSUTOSHI ITOYAMA, KENJI NISHIDA and KAZUHIRO NAKADAI: Onset-Informed Source Separation Using Non-Negative Matrix Factorization with Binary Masks | BORIS KUZNETSOV, JULIAN PARKER and FABIAN ESQUEDA: Differentiable IIR Filters for Machine Learning Applications | ANTÓNIO RAMIRES, GILBERTO BERNARDES, MATTHEW E. P. DAVIES and XAVIER SERRA: TIV.lib: An Open-Source Library for the Tonal Description of Musical Audio | HENRIK JÜRGENS, REEMT HINRICHS and JÖRN OSTERMANN: Recognizing Guitar Effects and Their Parameter Settings | PHILIPPE ESLING, NINON DEVIS, ADRIEN BITTON, ANTOINE CAILLON, AXEL CHEMLA-ROMEU-SANTOS and CONSTANCE DOUWES: Diet Deep Generative Audio Models with Structured Lottery

Interaction is an important part of life. In Rhythmics, music education and music therapy contexts, where interaction is created by music, movement and various materials, this process opens up space in-between, where nonverbal communication and creative expression can take place. This article stresses that communication is more than just interacting through voice (verbal interaction). It emphasizes its possibilities and its value for artistic-educational work and shows how interactions can be initiated and continued through music, movement and materials by creating space for expression and communication on a variety of levels, which allows each participant to give and receive and dwell in possibility.

When playing single-reed woodwind instruments, players can modulate the spectral content of the airflow in their vocal tract, upstream of the vibrating reed. In an empirical study with professional clarinettists (Np=11), blowing pressure and mouthpiece pressure were measured during the performance of Clarinet Concerto excerpts. By comparing mouth pressure and mouthpiece pressure signals in the time domain, a method to detect instances of vocal tract adjustments was established. Results showed that players tuned their vocal tract in both clarion and altissimo registers. Furthermore, the analysis revealed that vocal tract adjustments support shorter attack transients and help to avoid lower bore resonances.