Strategiepapier für das Onboarding von neuberufenen Professor:innen an Musikhochschulen. Zur Nutzung für Hochschulleitungen

The acoustic and auditory properties of individual musical instruments have been extensively studied over recent decades, however, their sonic interplay within a musical ensemble remains under-explored. Given their considerable importance across various fields, aspects of ensemble sound, such as blending of instruments, perceptual relevance of directivity of instruments, and the role of room acoustics, demand comprehensive evaluations and an interdisciplinary approach. This study aims to improve the perceptually motivated acoustic representation of instruments in joint performance in both real and virtual acoustic domains, by exploring different stages of these aspects in musically realistic contexts. An explorative listening test with live string ensemble performance suggested that the characteristics of the acoustic environment considerably influence the blending of violins playing in unison. Combining methods of Machine Learning and Music Information Retrieval, a computational modelling approach is proposed to classify sound samples from an ensemble recording according to perceived blending. Proving this classification to be effective for monophonically rendered sound samples of two violins from in-situ environments, without requiring the individual source recordings marks a first step towards comprehensive blending modelling. Furthermore, the applicability of close-microphone recordings for auralization of a perceptually convincing ensemble sound was successfully demonstrated. Advancing previous research in directivity perception, it could be demonstrated that the room acoustics have a greater impact on the orientation perception of sources than their directivity. By involving instruments with distinct radiation directivities in a variety of acoustic environments, the major acoustical parameters influencing the orientation perception have been explored. Examining musical instruments with their inherent dynamic directivity against loudspeakers in in-situ conditions showed that their distinction becomes obscured under specific acoustic conditions. These findings led to a pilot study on the perceptual relevance of high-order directivity modelling of individual sources forming an ensemble. Results indicate, that even with an increasing number of sources, their detailed directivity characteristics remain pivotal for auralizing ensemble performance. The role of room acoustics in shaping the overall blending is shown to be dependent on the source-level blending. A computational model for predicting overall perceived blending in musical performance using source-level blending ratings and room acoustical parameters was suggested and validated. Analysis of its feature importance revealed that the room acoustic contribution to the overall blending impression is nearly as significant as the blending between instruments at the source level. By emphasizing and detailing relations between musical blending, directivity perception, and auralization aspects, this thesis contributes to the advancement of ensemble sound research and offers insights pertinent to music performance and perception research, virtual acoustics, and related fields.

Musik ist körperliche Bewegung – Musik ‚bewegt‘. Das gilt für Musiker/innen ebenso wie für Rezipient/innen. Diesen Umstand machen sich viele ambitionierte Festivals und Konzertveranstalter bei der Entwicklung neuer, ‚auratischer‘ Konzertformate zunutze. So groß das praktische Interesse am Spannungsfeld zwischen Körperlichkeit und Musik scheint, so gering ist die Kenntnisnahme der Musikvermittlungsszene an den Ergebnissen unterschiedlicher wissenschaftlicher Disziplinen. Dabei bieten neurowissenschaftliche, historiographische und ethnographische Diskurse zahlreiche spannende Ansätze. Ziel dieser Masterarbeit ist es, unterschiedliche disziplinäre Zugänge zur Frage nach dem Zusammenhang zwischen Musikrezeption und Körperlichkeit mit musikvermittlerischem Fokus zu befragen.

In modern pedagogical anthropology the term ‘image’ is often used to describe definitions of ‘man’ and ‘music’ as results of our imagination. Generating images and concepts allows us to make reasonable didactic decisions, but it also reduces the complexity and plurality of the numerous meanings of the terms ‘man’ and ‘music’. This approach especially points out the problems caused by an unquestioned belief in these images: it emphasizes the importance of reflecting on scientific and presci- entific prejudices concerning the supposed ‘nature’, the ‘essence’ or the ‘substance’ of humanity as well as art. A knowledge of the plurality of ways in which former and contemporary authors thought and think about the relations between ‘man’ and ‘music’ is suggested as an important aim of music pedagogic research today.

Der Beitrag beschäftigt sich mit ästhetischen und bildungstheoretischen Fragen sowie mit musikdidaktischen Potenzialen, welche sich aus neuartigen medialen Umgangsweisen mit Musik für Jugendliche bzw. den Musikunterricht in der Sekundarstufe ergeben. Musikbezogene (interaktive) Internetportale und Software bieten vielschichtige Partizipationsofferten und schaffen neue virtuelle musikalische Lernwelten. Als Beispiele hierfür werden Web-2.0-Plattformen, Literals, Remixes und Mashups analysiert. Die Diskussion des Partizipationsbegriffs als theoretisches Konstrukt im Spannungsfeld zwischen informellen und formalen Lernszenarien steht im Zentrum des Beitrages. Darauf aufbauend werden mögliche musikdidaktischen Konsequenzen diskutiert sowie Korrelationen zwischen musikbezogener Sozialisation, informellen Aneignungsprozessen und medialer Innovation reflektiert.