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Now showing 147 item(s)

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    text::book::book part

    Basic Features of Inclusive Music Didactics – the Ensemble Ohrenklang as an example.

    (2023) Falschlunger, Christoph

    This article is not a detailed discussion or even can outline of inclusive music didactics, and it does not present a collection of methods that could serve as a reference work. The intention of this contribution is rather to select and present, perhaps in an unconventional way, five methodological-didactic aspects of artistic-pedagogical work in inclusive musicmaking groups with people with disabilities and to pose guiding questions that can be answered in such a way that conditions for successful inclusive music-making become clear. The elaboration of these conditions of success – I like to call them conditions of happiness – should encourage us to reflect on our own actions and practices and to remain in search of what makes us happy together.

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    text::conference output::conference paper not in proceedings

    Hand in Hand: Strauss' Kaiser Walzer as a case study of interdisciplinary collaboration in digital musicology

    (2023) VanderHart, Chanda, Nurmikko-Fuller, Terhi, Weigl, David

    Composed to mark Franz Joseph's state visit to Wilhelm II, Strauss' Kaiser Walzer (Emperor Waltz) provokes the question: which Emperor was it for? We investigate this in a case study of interdisciplinary collaboration in digital musicology, employing a FAIR data multimedia corpus associated with the Vienna Philharmonic's New Year's Concerts.

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    text::book

    Telling Sounds

    (2023) Berner, Elias, Santi, Matej

    How are music and sound involved in the creation of audiovisual documents? What kind of quantitative and qualitative research permits the examination of music and, more generally, sound for Austrian (music) history on the basis of digitized audiovisual sources? These questions were approached in the interdisciplinary Digital Humanities project “Telling Sounds” at the Universität für Musik und darstellende Kunst in Vienna. This volume consists of various case studies conducted by the members of the team. The project’s main task was the conception and development of a Digital Humanities research tool: LAMA – Linked Annotations for Media Analysis. It was designed for the purpose of using machine-readable open data to annotate and link the ways in which music has been used and contextualized in different audio and audiovisual media texts in different times throughout Austrian history. Each of the case studies is dedicated to different genres of music, media texts, and events or timespans in history. Contributions by Aylin Basaran | Elias Berner | Paul Gulewycz | Birgit Haberpeuntner | Julia Jaklin | Birgit Michlmayr | Peter Provaznik | Cornelia Szabó-Knotik | Meike Wilfing-Albrecht

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    text::book

    1928: Wien und das zeitgenössische österreichische Konzertlied

    (2023) Kopecky, Judith

    Die Zwischenkriegszeit in Österreich war geprägt von gravierenden politischen Veränderungen, sozialen Umbrüchen und wirtschaftlichen Krisen. Dennoch war sie, zumindest bis weit in die 1920er Jahre hinein, eine Ära intellektueller und künstlerischer Produktivität und Wien als Hauptstadt der neu gegründeten Republik Österreich konnte weiterhin als eines der geistigen Zentren Europas gelten. Vor diesem Hintergrund widmet sich Judith Kopecky der Untersuchung des zeitgenössischen österreichischen Liedschaffens dieser Jahre, wobei angeregt durch jüngere kulturwissenschaftlich orientierte Studien ein einziges Jahr, nämlich 1928, im Sinne des Geertz’schen Konzepts der ‚Thick Description‘ in einer Fülle von Blickwinkeln ins Zentrum des Forschungsinteresses gerückt wird.

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    text::conference output

    Tutorial - Collaborative approaches to discourse: Music scholarship using performance recordings and Linked Data annotations

    (2023) Lewis, David, Page, Kevin, VanderHart, Chanda, Weigl, David

  • thumbnail
    text::book::book part

    The development of Music and Movement Education/Rhythmics as a field of study in Vienna and the expansion of Eurhythmics in Austria

    (2023) Witoszynskyj, Eleonore

    Inside Austria, Vienna has always been the only place to study Eurhythmics on university level – besides Laxenburg (School Hellerau-Laxenburg 1925-1939). Vienna's Music and Movement Education/Rhythmics was the first Bachelor- and Masterstudy in Europe and is one of the largest programmes for this study in the world. (Sych 2016, 5) It attracts students from other European and non-European countries. (Witoszynskyj 2016, 18) Translated by: Hannes Taljaard Edited and supplemented by: Christoph Falschlunger, Vienna 2023 This text is a summery of an article of Eleonore Witoszynskyj, which was first published in German 2016.* Supplementary to this text you can find historic photo material within this digital exibition designed by Herta Hirmke-Toth: www.dermediendesigner.at/portfolio/img/17/tafeln.pdf

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    text::report::technical report

    RIAM 2.0 - Reed Instrument Artificial Mouth. A Blowing and Tonguing Device for Artificial Excitation of Single-Reed Woodwind Instruments

    (2023) Mayer, Alexander, Pamies Vila, Montserrat

    This technical report provides the construction details and solutions of the further development of a reed-instrument artificial mouth (RIAM), which is an artificial blowing device used to analyse single-reed musical instruments. Among other aspects, the extension by a special seal, which flexibly encloses the mouthpiece, and the introduction of a controlled artificial tongue are discussed. Software developed in LabVIEW is explained for a better understanding of the features provided. Technical drawings presented should facilitate reproducing the design of RIAM 2.0.

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    text

    Vom Hören und Zuhören zum Dialog

    (2023) Smetana, Monika

    Smetana, Monika (2023, 6. Oktober). Vom Hören und Zuhören zum Dialog: Musiktherapeutische Erfahrungen im intersubjektiven Raum. Antrittsvorlesung zur Professur für Musiktherapie, mdw – Universität für Musik und darstellende Kunst Wien.

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    text::book::book part

    Introduction

    (2023) Ahmedaja, Ardian

    The participation of skilful - in addition to soundful - bodies in action is essential to the interaction of individuals in creating music for dancing. Since cultures, being products of human individuation, exist only in performance (Blacking), the recent awareness in anthropology of varying worlds and worldviews (Heywood) reveals particularities of diverging ontologies as an effective object of research. Exploring music for dancing in this context provides significant insights of inter-individual relations and social context, which do not simply arise from the behaviour of individual agents, but themselves enable and shape the individual agents on which they depend (De Jaegher and Froese). Diverging ontologies in music for dancing may therefore be perceived as an indispensable constituent component of the music∼dancing coupling.

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    text::book

    Diverging Ontologies in Music for Dancing. European Voices V.

    (2023) Ahmedaja, Ardian (Ed.)

    The participation of skilful - in addition to soundful - bodies in action is essential to the interaction of individuals in creating music for dancing. Since cultures, being products of human individuation, exist only in performance (Blacking), the recent awareness in anthropology of varying worlds and worldviews (Heywood) reveals particularities of diverging ontologies as an effective object of research. Exploring music for dancing in this context provides significant insights of inter-individual relations and social context, which do not simply arise from the behaviour of individual agents, but themselves enable and shape the individual agents on which they depend (De Jaegher and Froese). Diverging ontologies in music for dancing may therefore be perceived as an indispensable constituent component of the music∼dancing coupling.

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