skip to main content
10.1145/3411109.3411115acmotherconferencesArticle/Chapter ViewAbstractPublication PagesamConference Proceedingsconference-collections
short-paper

Inside Beethoven!: a musical installation for a new listening perspective

Authors Info & Claims
Published:16 September 2020Publication History

ABSTRACT

On the occasion of the 250th anniversary celebrations of Ludwig van Beethoven in 2020, we developed the musical room installation "Inside Beethoven! The Audience Goes on Stage". It is a stage with virtual musicians. Visitors are invited to enter, take the position of the musicians and listen to each of them at close range The installation emulates the listening perspective of the musicians, thus, providing an uncommon experience to visitors who are mostly used to listen to music from recordings or from a concert audience's perspective. The musicians play Beethoven's septet op. 20 and its trio arrangement op. 38, two exclusive 14 channel music productions. Both versions are aligned and can be switched seamlessly. Digital music stands visualize the score. In this paper we trace the genesis and construction of the installation and point at some conceptual and technical challenges tackled.

References

  1. L. van Beethoven. 1968. Trio für Klavier, Klarinette oder Violine, Violoncello (Es-Dur) op. 38, Partitur. In Klaviertrios (Beethoven Werke), F. Klugmann (Ed.), Vol. IV/3. Henle Verlag, Munich, Germany.Google ScholarGoogle Scholar
  2. L. van Beethoven. 2008. Septett für Violine, Viola, Klarinette, Horn, Fagott, Violoncello, Kontrabass (Es-Dur) op. 20, Partitur. In Kammermusik mit Blasinstrumenten (Beethoven Werke), E. Voss (Ed.), Vol. VI/1. Henle Verlag, Munich, Germany.Google ScholarGoogle Scholar
  3. Jan Borchers, Aristotelis Hadjakos, and Max Mühlhäuser. 2006. MICON: a music stand for interactive conducting. In New Interfaces for Musical Expression, Vol. 2006. Citeseer.Google ScholarGoogle Scholar
  4. J. O. Borchers. 1997. WorldBeat: Designing a baton-based interface for an interactive music exhibit. In Proceedings of the ACM SIGCHI Conference on Human factors in computing systems. 131--138.Google ScholarGoogle ScholarDigital LibraryDigital Library
  5. S. Brandenburg (Ed.). 1996. 1783--1807. Number 1 in Ludwig van Beethoven. Briefwechsel Gesamtausgabe. Henle Verlag, Munich, Germany.Google ScholarGoogle Scholar
  6. S. Cox, M. Hartwig, and R. Sänger. 2015. Beethovens Werkstatt: Genetische Textkritik und Digitale Musikedition. Eine Projektvorstellung. Forum Musikbibliothek 36, 2 (July 2015), 13--20.Google ScholarGoogle Scholar
  7. Aristotelis Hadjakos, Heizo Schulze, André Düchting, Christian Metzger, Marc Ottensmann, Friederike Riechmann, Anna-Maria Schneider, and Michael Trappmann. 2015. Learning Visual Programming by Creating a Walkable Interactive Installation. In Proceedings of the Audio Mostly 2015 on Interaction With Sound. 1--8.Google ScholarGoogle ScholarDigital LibraryDigital Library
  8. R. King. 2016. Recording Orchestra and Other Classical Music Ensembles. Taylor & Francis. https://books.google.de/books?id=CC8lDwAAQBAJGoogle ScholarGoogle Scholar
  9. Eric Lee, Marius Wolf, Yvonne Jansen, and Jan Borchers. 2007. REXband: a multiuser interactive exhibit for exploring medieval music. In Proceedings of the 7th international conference on New interfaces for musical expression. 172--177.Google ScholarGoogle ScholarDigital LibraryDigital Library
  10. Silvia Lindtner. 2007. Playful Spaces between Fantasy and Real. In Position Paper for the CHI 2007 workshop Supple Interfaces, San Jose, CA. Citeseer.Google ScholarGoogle Scholar
  11. Meinard Müller. 2007. Information retrieval for music and motion. Springer.Google ScholarGoogle ScholarDigital LibraryDigital Library
  12. Joseph A Paradiso. 1999. The brain opera technology: New instruments and gestural sensors for musical interaction and performance. Journal of New Music Research 28, 2 (1999), 130--149.Google ScholarGoogle ScholarCross RefCross Ref
  13. R. J. Peters, B. J. Smith, and M. Hollins. 2013. Acoustics and Noise Control (3rd ed.). Routledge, New York, NY, USA.Google ScholarGoogle Scholar
  14. David Sankoff. 1983. Time warps, string edits, and macromolecules. The Theory and Practice of Sequence Comparison, Reading (1983).Google ScholarGoogle Scholar
  15. Roger N Shepard. 1982. Geometrical approximations to the structure of musical pitch. Psychological review 89, 4 (1982), 305.Google ScholarGoogle Scholar
  16. OrchPlayMusic team. 2018. OrchPlayMusic. https://orchplaymusic.com/Google ScholarGoogle Scholar
  17. E. Voss. 2002. Zum Begriff des 'obligaten Akkompagnements' im Zusammenhang mit Beethovens Septett op. 20. In Kammermusik in 'gemischten' Besetzungen. Christoph-Hellmut Mahling zum 70. Geburtstag (Schloss Engers Colloquia zur Kammermusik), K. Pfarr and K. Böhmer (Eds.). Mainz, Germany, 3--13.Google ScholarGoogle Scholar
  18. S. Waloschek and A. Hadjakos. 2015. Sensors on Stage: Conquering the Requirements of Artistic Experiments and Live Performances. In Proc. of the Int. Conf. on New Interfaces for Musical Expression (NIME). Baton Rouge, LA, USA, 351--354.Google ScholarGoogle Scholar
  19. Beethovens Werkstatt. 2020. Ludwig van Beethoven, Septett Es-Dur op. 20 und Bearbeitung als Trio op. 38, Erläuterungen zur synoptischen Darstellung in der VideApp-Arrangement. https://beethovens-werkstatt.de/vergleich-20-38/Google ScholarGoogle Scholar

Index Terms

  1. Inside Beethoven!: a musical installation for a new listening perspective

      Recommendations

      Comments

      Login options

      Check if you have access through your login credentials or your institution to get full access on this article.

      Sign in
      • Published in

        cover image ACM Other conferences
        AM '20: Proceedings of the 15th International Audio Mostly Conference
        September 2020
        281 pages
        ISBN:9781450375634
        DOI:10.1145/3411109

        Copyright © 2020 ACM

        Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected].

        Publisher

        Association for Computing Machinery

        New York, NY, United States

        Publication History

        • Published: 16 September 2020

        Permissions

        Request permissions about this article.

        Request Permissions

        Check for updates

        Qualifiers

        • short-paper

        Acceptance Rates

        AM '20 Paper Acceptance Rate29of47submissions,62%Overall Acceptance Rate177of275submissions,64%
      • Article Metrics

        • Downloads (Last 12 months)19
        • Downloads (Last 6 weeks)2

        Other Metrics

      PDF Format

      View or Download as a PDF file.

      PDF

      eReader

      View online with eReader.

      eReader