TU Berlin

Audio Communication GroupProf. Dr. Stefan Weinzierl

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Prof. Dr. Stefan Weinzierl

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Contact Information:

Audio Communication Group
Sekr. EN-8
Einsteinufer 17
D-10587 Berlin


Telephone: +49 30 - 314 253 59

Office Hours:

Tuesday 12-14 Uhr
Appointments made with Ms. Grasse (Raum EN 321):


Telephone: +49 30 - 314 222 36

Fields of Research

Virtual Acoustics (binaural technology, sound field synthesis), Room Acoustics, Audio technology, Auditory perception, Musical Acoustics

Courses

Introduction to Digital Signal Processing, Audio Technology I: Electro-acoustics and Room Acoustics, Virtual Acoustics, Music Acoustics

News (Selection)

3SAT reports on RE-SOUND Beethoven

On December 3, 2016, 3SAT ran a feature on the Orchester Wiener Akademie and its director Martin Haselböck reporting on the concert series RE-SOUND Beethoven in which the orchestral works of L.v. Beethoven were presented in their historical performance practice in the original staging rooms of Beethovenʼs time. The project is based on Stefan Weinzierlʼs research on the room acoustics and symphonic presentation practice during the Beethoven era (Excerpt).

Video


Die WELT reports on the auralisation of the Forum Romanum

On June 18th, 2016, Die WELT reports on the acoustic reconstructions of ancient public spaces, which were developed in cooperation with the Institute for Archaeology and Culture Science of the HU Berlin in the context of the interdisciplinary research project “Image - Knowledge - Design”.

PDF / www.welt.de


Forschung und Lehre reports on Audio Communication

The journal Forschung & Lehre (trans. Research and Teaching) reports on the Audio Communication Group in the April 2015 issue.

PDF

Technology Review reports on the research of Virtual Acoustics

The journal Technology Review reports on the latest research in Virtual Acoustics, as well as the department of Audio Communication of the TU Berlin in the December 2014 issue.

PDF


forschung reports on the research group SEACEN

The magazine German Research of the german research community reports on the DFG research unit “Simulation and Evaluation of Acoustic Environments”, which is directed by Stefan Weinzierl (SEACEN, FOR 1557).

PDF

Vita

Born on June 6, 1967 in Bamberg | Diploma in Physics at the University of Erlangen and the TU Berlin, 1992 | Diploma in Music Production (Tonmeister) at the University of the Arts, Berlin, 1994 | Fellow of the Studienstiftung des deutschen Volkes | Studies in Musicology at the University of California at Berkeley, 1993-95 | Doctorate in the field of Music Acoustics with an acoustic reconstruction of the original performance rooms of L.v. Beethoven in Vienna, with Prof. Helga de la Motte-Haber and Jürgen Meyer, 1999.

1993-2000 Pianist and accompanist. Tours and CD-levelling with Tim Fischer, Jocelyn B. Smith, Yamil Borges, Irmgard Knef | Music critic for the Berliner Tagesspiegel, amongst others.

Since 1993, freelance Producer and Sound Engineer for Deutsche Grammophon (DGG), Teldec Classics, ars musici, CPO, Ondine, assai, Ambitus, Händler, Classic, Bayerischer Rundfunk, Südwestfunk, and Radio Svizzera Italiana (rsi) in Lugano, amongst others. German Record Prize, 1997.

1998-2003 Lecturer of Music Production and Digital Audio at the University of the Arts, Berlin.

2003 Appointed to professorship for “Theory of Music Production“ at the Erich-Thienhaus-Institute of the Hochschule für Musik Detmold.

Since 2004 Professor for Audio Communication at the TU Berlin.

Since 2007 Head of the Audio Communication Group and the mastes program “Audio Communication and Technology (M.Sc.) at the TU Berlin.

Since 2009 Dean of research, from 2012-2015 dean of Faculty I

Since 2001 Spokesperson for the DFG-Research group "Simulation and Evaluation of Acoustic Environments (SEACEN, FOR 1557)"

Since 2015 Head of the Hybrid-Plattform, Coordinator of the cooperation between the TU Berlin und University of the Arts, Berlin.

Since 2015 Coordinator of the European research project "Artist to Business to Business to Consumer Audio Branding System (ABC_DJ)", funded by the Programm Horizon2020 (ICT-19a, 688122).

Since 2017 coordinator and spokesman of the consortium SHAPING SPACE, submitted as application for a cluster of excellence by UdK Berlin and TU Berlin.

Stefan Weinzierl works as consultant in the field of room acoustics, for example, currently for the planning of the new concert hall in the Munich Werksviertel.

See also: Stefan Weinzierl (Wikipedia)

Publications

Musical instruments in the 21st century: Identities, configurations, practices
Citation key Weinzierl_Bovermann.2017y
Author Bovermann, Till and Campo, Alberto de and Egermann, Hauke and Hardjowirogo, Sarah-Indriyati and Weinzierl, Stefan
Year 2017
ISBN 9789811029509
DOI 10.1007/978-981-10-2951-6
Address Singapore
Editor Bovermann, Till and Campo, Alberto de and Egermann, Hauke and Hardjowirogo, Sarah-Indriyati and Weinzierl, Stefan
Publisher Springer
Abstract By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing insights from science, humanities and the arts, authors from a wide range of disciplines discuss the following questions: · What are the conditions under which an object is recognized as a musical instrument? · What are the actions and procedures typically associated with musical instruments? · What kind of (mental and physical) knowledge do we access in order to recognize or use something as a musical instrument? · How is this knowledge being shaped by cultural conventions and temporal conditions? · How do algorithmic processes 'change the game' of musical performance, and as a result, how do they affect notions of instrumentality? · How do we address the question of instrumental identity within an instrument's design process? · What properties can be used to differentiate successful and unsuccessful instruments? Do these properties also contribute to the instrumentality of an object in general? What does success mean within an artistic, commercial, technological, or scientific context? By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing insights from science, humanities and the arts, authors from a wide range of disciplines discuss the following questions: · What are the conditions under which an object is recognized as a musical instrument? · What are the actions and procedures typically associated with musical instruments? · What kind of (mental and physical) knowledge do we access in order to recognize or use something as a musical instrument? · How is this knowledge being shaped by cultural conventions and temporal conditions? · How do algorithmic processes 'change the game' of musical performance, and as a result, how do they affect notions of instrumentality? · How do we address the question of instrumental identity within an instrument's design process? · What properties can be used to differentiate successful and unsuccessful instruments? Do these properties also contribute to the instrumentality of an object in general? What does success mean within an artistic, commercial, technological, or scientific context?
Link to publication Download Bibtex entry

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