Publikationen und Veröffentlichungen

The OPEN Edirom project is developing a digital edition of incidental music for Goethe’s play Faust, representing an innovative initiative within the realm of music philology and MEI/TEI edition. Embracing the "data first" principle, OPEN Edirom prioritizes making its content openly accessible, thereby enabling diverse potential uses for researchers and performers. Our aim involves presenting the scholarly text and music edition in its entirety, incorporating its various forms of data, i.e. music, texts, source images, metadata, and annotations, all displayed with Edirom software.

Frömmel, L., Bachmann, T., Plaksin, A., & Münzmay, A. (2024). Open Edirom: From hybrid music edition to open data publication. Proceedings of the 11th International Conference on Digital Libraries for Musicology, 40–44.

https://doi.org/10.1145/3660570.3660582

Despite of the ever-expanding variety of technological means accessible to composers, performers, orchestrators, music producers, and music pedagogues of our time, the essence of music composing has mostly remained the same for centuries: the key question is, how to form an artistically innovative core idea of a musical piece and to find the most ideal instruments for it? This paper discusses composers’ explorations on establishing their individual voices, as well as finding and selecting the tools and techniques that would best serve their artistic goals in today's complex and pluralistic network of aesthetics.

Dr. Maria Kalionpää, Prof. Dr.-Ing. Axel Berndt, Mag. rer. nat., Dipl.-Psy. Hans-Peter Gasselseder, wissenschaftlicher Artikel zur XXV Generative Art Conference - GA2023

An arpeggiator is a system that takes in input notes (or chords) and breaks them up into sequences, so-called arpeggios. While typical MIDI arpeggiators receive and produce MIDI messages Arpeggiatorum allows for an audio signal to be the input of the system, performing monoor poly-phonic pitch estimation. Arpeggiatorum is also specifically designed to work with pipe organs. In this contribution we present the architecture of Arpeggiatorum, highlighting the design choices that lead to the development of specific features, and its strengths and current limitations. We will focus our attention on the possibility to use an audio input, for example a voice, or multiple voices, to control the system, and the new musical possibilities that emerge. We discuss the impact that of some of the most crucial parameters, namely accuracy and delay of the audio input have on the performances and suitability of the system.

Berndt, A., & Mauro, D. A. (2024, July 6)

Edirom Summer School

Berndt, A., & Waloschek, S. (2024, September).

The relevance and technical possibilities of Shared Virtual Environments (SVEs) are constantly growing as part of what is known as the Metaverse. This includes software and web platforms for creating SVEs and the availability of hardware for experiencing these environments. SVEs offer unique capabilities that have yet to be explored, especially in music. In this paper we explore the concept of networked Virtual Musical Instruments (VMIs) for the Musical Metaverse, where virtual spaces are specifically designed for musical collaboration and social inter-actions. We describe three prototypes for shared, collaborative VMIs that incorporate specific features of SVEs, such as spatial audio, data sonification, and embodied avatar-based interactions. We conducted a user study to investigate how these instruments can support creativity and usability and to what extent they can deliver a sense of social presence and mutual engagement between users. Finally, we discuss how the three implementations of the proposed shared and collaborative instruments provide novel avenues for music-making in the Metaverse. Our results show that the three instruments exhibit varying degrees of creativity and usability. However, instruments that employ symmetrical and embodied interactions better support social presence and interdependence among users.

2024 IEEE 5th International Symposium on the Internet of Sounds (IS2), 1–10.

Boem, A., Dziwis, D., Tomasetti, M., Etezazi, S., & Turchet, L. (2024)

The growing possibilities and availability of immersive technologies in the field of Extended Reality (XR) are leading to new potentials in the context of Musical XR, like the emergence of new concepts for virtual reality musical instruments (VRMIs), reception, and composition and performance practices. Recent XR devices for Virtual and Augmented Reality allow not only to present virtual content, but also to blend real and virtual environments to create hybrid Mixed Realities. Therefore, in addition to using standard interfaces such as controllers or hand tracking from XR systems for interacting with VRMIs, developing custom musical interfaces can provide enhanced physical possibilities and experiences for interacting with VRMIs and other virtual sound-generating systems.

Proceedings of the International Conference on New Interfaces for Musical Expression, 439–446.

Dziwis, D., & Hadjakos, A. (2024)

At the beginning of the twentieth century, the physicist Erich Waetzmann had already identified limitations in the functionality of the human ear in his “School of Listening”, where he provided instructions on “how the severely neglected auditory organ could be trained and strengthened in its performance”,2 when compared to our sense of sight. Therefore, he decided to address the shortcomings of the auditory sense with his booklet.

Personal and Ubiquitous Computing, 28(5), 655–656

Iber, M., Enge, K., Rönnberg, N., Neidhardt, A., Schnell, N., Pollack, K., Kallionpää, M., & Chamberlain, A. (2024)