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  book

  The Social Organization of Arts

  (2025-01-01) 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.

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  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.

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  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.

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  book

  ‘Universum rei harmonicae concentum absolvunt’: The Harpsichord in the Sixteenth Century

  (2024-01-01) Grassl, Markus; Van Lookeren Campagne, Augusta

  The volume deals with various topics related to keyboard music in the sixteenth century. These include aesthetic ideas associated with keyboard playing, the spread of the harpsichord in the sixteenth century, keyboard notation and its specific features, questions of tempo, rhythm and ornamentation, and iconographic sources as a basis for reconstructing playing techniques. It gathers the proceedings of a conference held at the University of Music and Performing Arts in Vienna in 2021. The contributions cover a wide range of aspects of musical style, repertoire and performance practice, as well as the socio-cultural significance of plucked instruments in the sixteenth century. It is aimed at musicologists and musicians.

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  technical report

  A Versatile Monochord Setup. An Industrial Robotic Arm as Bowing and Plucking Device

  (2024-01-01) Mayer, Alexander; Lampis, Alessio

  Experiments on the bowed string are often carried out on monochord setups [1] and with specialized bowing machines [2, 3, 4, 5] in order to study the excitation in detail. These setups simplify the equipment with the necessary sensors. Furthermore, by using rigid body monochords, measurement uncertainties can be minimized by eliminating vibrating components such as the resonating body, bridge, neck, etc. When the string is then excited or bowed using a machine, there are further advantages in terms of reproducibility or controllability of the excitation and bowing parameters. This technical report provides technical details of a monochord built at the acoustic laboratory of the Department of Music Acoustics – Wiener Klangstil (IWK). The advantages of using strain gauge sensors for string vibration analysis are presented and discussed. In contrast to a custom- made bowing machine, however, an industrial robotic arm was used for string excitation, thereby allowing for highly versatile applications. Enclosed detail pictures, circuit diagrams and software flowcharts provide the possibility of simple replication of the setup described.

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  conference poster not in proceedings

  „Do you really want to play?” A historical book project about Alfred Schmölz (1921–1995), Austrian music therapy pioneer and great influencer of active therapeutic improvisation. Animated Poster

  (2024-01-01) Haider, Georg; Riedl, Hannah

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  book part

  'Nach seinem selbst gefallen mit der Mensur wexln'

  (2024-01-01) Marinčič, Domen

  Nicola Vicentino’s description of singers varying the beat in order to clarify the affect of the words and the harmony may seem to be relevant to certain keyboard music, all the more since sources point out that solo performers enjoy greater freedom than do ensembles. Tempo changes sometimes seem to be implied by striking differences between predominant note values in sections of a piece. One might expect shorter note values to be generally associated with a slower tactus, and longer note values with a quicker one, but some composers demand the opposite, so that the contrasts in the music are amplified rather than understated. Ornamented keyboard intabulations can occasionally be seen to imply textually and musically motivated tempo changes via noticeable variation in the density of ornamentation.

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  book part

  Hacking the System

  (2024-01-01) Pritchard, Ian

  The commonly-understood conception of Italian keyboard intavolatura as a species of tablature notation carries with it certain implications: that intavolatura shares a basic affinity with lute and figure-based keyboard notational systems; that it is a ‘finger notation’, designed to transmit information necessary for the mechanical actions of playing, but not for voice leading and polyphonic detail; that its functioning was predicated upon a particular set of notational conventions or laws. The identification of intavolatura as a distinct notational system has been primarily established through a reading of Diruta’s treatise Il Transilvano – our most complete historical source describing intavolatura and the process of intabulating music in it – and through the volumes of keyboard music printed by 16th-century houses such as Gardano, Vincenti, and Verovio. However, not fully examined to this point has been conceptualizations of intavolatura on the part of scribes working on the Italian peninsula, mainly because there hasn’t been a thorough examination of extant intabulations in manuscript. An examination of these intabulations further supports the conceptual framing of intavolatura as a system of conventions – a system that was tacitly understood by scribes as well as printing houses. An investigation into scribal habits further highlights the functioning of intavolatura as a kind of lute tablature for keyboard that used mensural notation in place of figures. At the same time, the use of mensural notation allowed for instances in which scribes use intavolatura as a kind of ‘partitura’, ignoring its conventions and rules in order to show the original voice leading of the polyphonic model. In their very divergence from intavolatura convention these instances further solidify the systematic conception of intavolatura; at the same time, they also show that scribes were aware of the possibility of bypassing the rules for the sake of showing polyphonic detail.

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  book part

  Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century

  (2024-01-01) Griffiths, John

  The invention and widespread dissemination of music in tablature was one of the great novelties and a key factor in the proliferation of solo instrumental music during the 16th century. An alternative to mensural notation, tablature offered systems of writing music better suited to polyphonic instruments, particularly keyboards and plucked strings such as lute, guitar, and vihuela. Tablatures emerged in a variety of forms that used the letters, numbers and conventional mensural symbols, and many aspects were shared between the notations devised for keyboards and plucked strings. Although we recognise specific idiomatic styles associated with individual instrument types, there is also a significant amount of music that shares common features and that can be performed on diverse instruments. This was recognised by Spanish musicians such as Luis Venegas de Henestrosa whose tablature published in 1557 was advertised as being for ‘tecla, harpa y vihuela’. This paper explores the idea of interchangeability associated with such tablatures, and a range of issues extending from the particularities of the Venegas book and its emulation by Cabezón in 1578, beyond national borders to consider the nature of tablature across notation styles, and instrumental practice in distinct regions of Europe.

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  book part

  On the Performance Practice of Andrea Antico's Frottole intabulate da sonare organi, libro primo (Rome, 1517)

  (2024-01-01) Falcone, Fabio Antonio

  Andrea Antico’s 1517 print of keyboard intabulations of frottolas is rather well known to modern scholars, mostly because it is the first print of keyboard repertoire in Italy. Frottolas were a codified genre where a strophic text often predated the music and followed strict literary rules. Since Antico published instrumental arrangements, the texts are not immediately visible, yet they were very well known to the reader of those days. How was the music then performed when no text was heard? How was this monodic repertoire understood by the contemporaries? Did the player infer the correct accentuation of the music from an implicit text? If so, a correct understanding of the meter and of poetical conventions would be an essential element for an adequate performance of Antico’s arrangements of this vocal repertoire.

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