@phdthesis{Lachenmayr2016,
  author    = {Lachenmayr, Winfried},
  title     = {Perception and Quantification of Reverberation in Concert Venues},
  url       = {http://nbn-resolving.de/urn:nbn:de:hbz:575-opus4-599},
  school      = {Hochschule f{\"u}r Musik Detmold},
  pages     = {167},
  year      = {2016},
  abstract  = {Reverberation is an important factor of the acoustics in a room. It influences the acoustic perception of the listener and the performer. Each concert venue has its specific acoustic properties. Numerous studies regarding these properties have been conducted, mostly in real world or fully synthesized environments. However, both acoustic quality and perception in concert spaces are still not satisfactorily explained. The present thesis contributes new findings in the field of reverberation (late energy) for concert spaces. Previous concepts are further refined and novel approaches suggested. Several experiments are conducted in semi-virtual acoustics, namely real rooms whose existing acoustics is altered by means of an electronic reverberation system with loudspeakers. Thus, the possibility of changing the acoustic situation at the push of a button is offered, while the listeners' visual and tactile perception remains the one from the real world environment. A lecture hall and a medium-sized concert hall equipped with enhancement systems are the test environments. Three aspects of reverberation are studied using this technique among others: reverberation level, spatial distribution of reverberation and the connection between signal dynamics and acoustics. The related perceptual attributes reverberance, listener envelopment and perception of dynamics are investigated by means of listening experiments. Following a qualitative investigation on enhancement systems, it is observed that reverberance depends highly on reverberation level. The method of only assessing decay time is not suffcient. An energy parameter such as strength must be included to predict reverberance. A loudness-based reverberation analysis is further explored and found to perform well in principle, however the three loudness models investigated differ noticeably. The direction of late reverberation in concert halls and the influence on the feeling of envelopment is further specified. Several tests show that the current measure neglects late reverberation from behind and above which contribute to listener envelopment. Lastly, the connection between signal envelope or dynamics and room acoustics is investigated, specifically regarding reverberation. Studies are conducted using, for example, a constant virtual orchestra source or a large pool of audio recordings from concert halls and opera houses. It is observed that reverberation alters the signal dynamic considerably, which is vital both in the context of acoustics and performance practice.},
  language  = {en}
}
@techreport{PetersGuensterImhofetal.2024,
  type      = {Working Paper},
  author    = {Peters, Julia and G{\"u}nster, Anne and Imhof, Jasmin and Winheller, Sandra},
  title     = {Onboarding at Universities of Music. Strategy Paper for the Onboarding of Newly Appointed Professors at Universities of Music. For Use by University Management and Administrations},
  series = {Strategy Paper},
  journal   = {Strategy Paper},
  doi       = {10.48474/182},
  url       = {http://nbn-resolving.de/urn:nbn:de:hbz:575-opus4-1826},
  pages     = {16},
  year      = {2024},
  abstract  = {Strategy Paper for the Onboarding of Newly Appointed Professors at Universities of Music. For Use by University Management and Administrations},
  language  = {en}
}
@misc{PozhamkandathThilakanKob,
  author    = {Pozhamkandath Thilakan, Jithin babu and Kob, Malte},
  title     = {Source blending sound samples},
  url       = {http://nbn-resolving.de/urn:nbn:de:hbz:575-opus4-1582},
  abstract  = {The Zip file contains monophonically rendered sound files used in the source level blending evaluation. The sound samples provided are recorded from a violin ensemble performance at Detmold Concert House as a part of an investigation on the influence of acoustic environment on the impression of blending [1]. DPA 4099 clip-on microphones were used to capture individual violins in the performance. Each sound sample consists of two violin signals that were rendered by downmixing to a monophonic format at 44.1kHz/16-bit depth. The impression of blending between the two violins in each sample was rated by a group of trained listeners, and the results are provided in the description file. Please refer to the publication for more details on the performance of the violin ensemble. Also, please cite the publication if these samples are used for scientific evaluations. [1] Jithin Thilakan and Malte Kob, "Evaluation of subjective impression of instrument blending in a string ensemble", Fortschritte der Akustik - DAGA 2021 in Wien, pp. 524-527.},
  language  = {en}
}
@misc{Telemann2022,
  author    = {Telemann, Georg Philipp},
  title     = {Twelve Fantasias for Viola da Gamba solo, transcribed for marimba solo},
  editor    = {Delinikolov, Kostadin},
  url       = {http://nbn-resolving.de/urn:nbn:de:hbz:575-opus4-1528},
  pages     = {48},
  year      = {2022},
  abstract  = {This transcription of the "Twelve Fantasias for Viola da Gamba solo" for marimba is a project of the percussion-department at the Hochschule f{\"u}r Musik Detmold. The aim of this edition is, while staying as close as possible to the musical source, to offer some explanations and suggestions for performance practice on marimba.},
  language  = {en}
}