Publikationen
CardioScope: ECG sonification and auditory augmentation of heart sounds to support cardiac diagnostic and monitoring.
(
).
Proceedings of ISon 2019 (6th Interactive Sonification Workshop)
.
2019.
Feedback Loop Shaping for Active Noise Control With Constraints of the Worst Case Secondary Paths.
(
).
Proceedings of 6th Congress of the Alps Adria Acoustics Association (6th Congress of the Alps Adria Acoustics Association)
.
2014.
Horizontal and Vertical Voice Directivity Characteristics of Sung Vowels in Classical Singing.
Applied Sciences,
4
(4):
pp. 849-866,
11
2022.
Time Domain Fast-Multipole Translation for Ambisonics.
Institut 17 Elektronische Musik und Akustik,
University of Music and Performing Arts Graz (Austria),
2011.
Vowel intelligibility analysis in singing using voice directivity features.
Poster at DAGA 2022 in Stuttgart (Österreich),
DEGA (Deutschland),
DEGA (Deutschland),
2022.
Localization of 3D Ambisonic Recordings and Ambisonic Virtual Sources.
(
).
Proc. of the International Conference on Spatial Audio 2011 (International Conference on Spatial Audio 2011)
.
2011.
Time-Domain Translation Operators for the Fast-Multipole-Method.
(
).
Fortschritter der Akustik - DAGA 2012 (DAGA 2012 Darmstadt)
.
2012.
Practical Implementation of Radial Filters for Ambisonic Recordings.
(
).
Proc. of the International Conference on Spatial Audio 2011 (Proc. of the International Conference on Spatial Audio 2011)
.
2011.
Sweet area size for the envelopment of arecursive and a non-recursive diffusenessrendering approach.
(
).
Proceedings of 5th International Conference on Spatial Audio ICSA (5th International Conference on Spatial Audio ICSA)
.
2019.
Directivity pattern measurement of a grand piano for augmented acoustic reality.
(
).
Fortschritte der Akustik, DAGA (Fortschritte der Akustik, DAGA)
.
2020.
3D sound source localization using a spherical microphone array.
(
).
Proceedings of ICSA 2014 in Erlangen (ICSA 2014 in Erlangen)
.
2014.
The Audio Mixer as Creative Tool in Musical Composition and Performance.
(Beiträge zur Elektronischen Musik (BEM),
).
private publishing,
Institut für Elektronische Musik und Akustik (Österreich),
2011.
A pilot study on the influence of mouth configuration and torso on singing voice directivity.
Journal of the Acoustical Society of America,
09
2020.
'Dirty Light': approaching lighting in audio-cisual contexts beyond its material-immanent properties.
(
).
Musica Nova VII (Musica Nova VII)
.
2012.
Token of Enunciation in Multimedia Performance.
(
).
Korean Electroacoustic Music Society's Annual Conference (Korean Electroacoustic Music Society's Annual Conference)
.
2017.
Vorstellung einer Methode zur Analyse von Aufführungspraktiken in der elektronischen Musik.
In
,
10 Years Anniversary of Master Multimedia Composition, HfMT Hamburg
HfMT Hamburg,
Hamburg (Deutschland),
2015.
Token of Enunciation in Multimedia Performance.
(
).
International Computer Music Conference Proceedings (International Computer Music Conference)
.
2017.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
Emille. the Journal of the Korean Electro-Acoustic Music Society,
02
2018.
Virtuelle 3D-Umgebungen als Raum für Komposition und Performance.
In
,
Erkundungen. Gegenwartsmusik als Forschung und Experiment
Schott,
Mainz (Deutschland),
2019.
Music in the Expanded Field – On Recent Approaches to Interdisciplinary Composition.
In
,
Darmstädter Beiträge zur Neuen Musik
(pp. 23-35).
Schott,
Mainz (Deutschland),
2017.
Musik jenseits des Klangs.
Österreichische Musikzeitschrift,
4
pp. 24-26,
12
2017.
Vom Kanon der Verbote und der postmedialen Musik.
Theater heute. die deutsche Theaterzeitschrift,
12
2012.
Traffic Noise Annoyance on Roads (TNAR).
(
).
CD ROM
.
2007.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
(
).
Korean Electroacoustic Music Society's Annual Conference (Korean Electroacoustic Music Society's Annual Conference)
.
2017.
A Method for Subjective Analysis of Audiovisual Works.
Poster at International Computer Music Conference in Shanghai (China),
Shanghai Conservatory (China),
Shanghai Conservatory (China),
2017.
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