Proposal for a Dance Performance

Proposal for a Dance Performance is an artwork for music ensemble and PowerPoint. This work aims to transform -through the use of self-referential narration- dance notation, emails, program notes and technical rides, into performing instances. The paper puts the above artwork in a dialogue with works by Hanns Eisler, Alfred Johannes and Johannes Kreidler, which use music notation as a conceptual visual tool. Furthermore, this paper discusses the role of music as a character in a play, a technique found in Samuel Becket’s work. This combination of narration and notation is being proposed as a transdisciplinary methodology for breaking fixed notions of artistic practice.

Johanna Müller-Hermann’s Lied der Erinnerung: Austria, America, and Beyond

Scholarship on musical settings of Walt Whitman’s When Lilacs Last in the Dooryard Bloom’d has only briefly looked into one of the most ambitious pieces composed on the poem in the earlier twentieth century: the Austrian woman composer Johanna Müller-Hermann’s orchestral cantata Lied der Erinnerung, premiered in Vienna in 1930. Through the piece has not remained in the repertoire, seen in light of its original context the cantata was a rich site for negotiating a complex terrain of ‘American’, ‘Austrian’, and ‘universal’ concepts. Through her structural decisions involving Whitman’s poem, her attempts to have the work reach American audiences, her use of borrowed melodies, and claims made in the work’s program notes, Müller-Hermann situated the work carefully between these competing frames while seeking to achieve critical success as a woman composer. The Whitmanesque vision of America that Müller-Hermann created would have also had a politically charged significance in both Austria and the U.S. in the period surrounding the work’s premiere.

Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach

Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).

Documentation

Chapter 5 of Performing Music Research focuses on three different types of documents, beginning with pre-existing written, audio, and audiovisual documentation. First, the chapter gives examples of pre-existing documents, such as program notes, which can be used in studies as research data in their own right and as stimuli for research. Second, it considers documentation created specifically for research purposes. This includes recordings of music making, which are a rich source of information in music research, and diaries—whether written, audio, or audiovisual. Third, it considers drawings and other forms of visual representation. Throughout, the chapter highlights the possibilities of obtaining insights from documentary data by using newly developed technologies.

Meaningful Engagement of Patient Advisors in Research: Towards Mutually Beneficial Relationships

Patient engagement in research improves trustworthiness of the research findings, increases relevance, and ensures designs include the most meaningful outcomes for patients living with targeted health conditions. The Patient Centered Outcomes Research Institute (PCORI) requires engagement of patient stakeholders. There is limited description of both the context and the processes used to engage patients effectively. This paper discusses engagement activities, roles and responsibilities, value of a Patient Advisory Board (PAB), and lessons learned. Data include program notes, research team reflections, PCORI reporting, and an advisor survey. Facilitators of meaningful engagement included creating a learning community, co-defining clear roles, reimbursing advisors, establishing clear avenues for communication, and welcoming unique contributions. Lessons learned were the value of time, the importance of building trust, and the benefits of diverse perspectives. The approach to meaningful engagement of patient advisors in research has the potential to enhance the relevance and usefulness of research for improving lives.

Metric of Highlighting the Synchronicity of Time Series and Its Application in Analyzing the Fundamental Frequencies of the Speaker’s Speech Signal

As part of the study, the problem of developing and applying a metric for assessing the degree of similarity of time series is considered, which makes it possible to consider the assumptions about the model of a series when comparing, as well as to compare the values of the corresponding characteristics of the series. Characteristics can be values that describe the structure of a series, or directly the values of the approximating function, which can be obtained using nonparametric statistics methods. One of the directions in which this approach can be applied to assessing the similarity of time series is the study of vocal performances. In practice, the degree of similarity in the performance of melodies by several speakers was analyzed. It was determined that, using the synchronicity metric, it is possible to implement an exercise in which students need to repeat the melody after the teacher. In addition, this approach was applied in the segment identification module with an abrupt change in the sounding of the fundamental frequency. This work is devoted to the modification of the program complex for vocal recognition in order to identify notes with a sharp change in the fundamental frequency. The complex is aimed at carrying out additional independent training in teaching vocals. The use of the software package will allow, in real time, providing feedback to the user with an assessment of the quality of their singing. This should allow students to study not only under the supervision of a teacher, but also independently in the early stages of learning. The basic algorithm of the program recognizes notes without sharp changes in frequencies with high accuracy, which is confirmed by experiments. In order to recognize by the algorithms of the program notes sung vibrato and glissando in singing, a new analysis method based on the metric of time series synchronicity is proposed.