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

When the medium is the message: An experimental exploration of ‘medium effects’ on the emotional expressivity of music dating from different forms of spatialization.
Citation key lepa_when_2013
Author Lepa, Steffen and Ungeheuer, Elena and Maempel, Hans-Joachim and Weinzierl, Stefan
Title of Book 8th Conference of the Media Psychology Division of Deutsche Gesellschaft für Psychologie (DGPs)
Year 2013
Address Würzburg
Note 00000
Abstract When listening to music in everyday life, the playback technologies employed and acoustic listening room conditions may alter the morphology of the resulting ambient sound field at our ears. These differences are noticeable, as demonstrated in numerous experiments from technical acoustics. But do they really matter for the experience and enjoyment of music? Or are “audio medium effects” just about quality expectations that we have developed towards certain “High Fidelity” technologies? Since possible differences with regard to sound field alterations are manifold, we initially focused on “spatiality” as one of the most distinguishing technical parameters of audio technologies that might lead to a modified affective physiognomy of music. In our experiment, 306 subjects listened to the same four recorded live music performances of different genres. The original audio material had been manipulated by means of dynamic binaural synthesis technology into three differently spatialized versions: “headphones”, “loudspeakers”, and “concert hall”, thereby allowing testing for “medium effects” related to different degrees of spatial cues while holding other factors (e. g. visual appearance of devices and related attributions) constant. Each subject experienced only one of the three listening conditions and had to rate the perceived emotional expression after each piece and the overall sound quality by end of the experiment. Half of the subjects were instructed to pay attention to “peculiarities in audio quality due to the special audio technology used”. While the latter manipulation substantially increased perceived sound quality (regardless of spatialization type administered) it did not affect perceived musical emotions at all. Inversely, loudspeaker and concert hall simulations led to significant increases in intensity on all dimensions of perceived affective musical expression. Results are discussed in terms of limitations in possible interpretations and with regard to future prospects of virtual acoustics as a tool in music and media psychology.
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