@misc{OPUS4-5885, title = {1040 - Erste Satzung zur {\"A}nderung der Pr{\"u}fungsordnung (studiengangspezifische Bestimmungen) f{\"u}r den Masterstudiengang Medieninformatik an der Hochschule D{\"u}sseldorf vom 11.12.2025}, address = {D{\"u}sseldorf}, organization = {Hochschule D{\"u}sseldorf}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-58858}, pages = {2}, year = {2025}, abstract = {Aufgrund der \S\S 2 Abs. 4, 64 Abs. 1 des Gesetzes {\"u}ber die Hochschulen des Landes Nordrhein-Westfalen (Hochschulgesetz - HG) vom 16.09.2014 (GV. NRW. S. 547) in der aktuell g{\"u}ltigen Fassung hat die Hochschule D{\"u}sseldorf die folgende Ordnung als Satzung erlassen.}, language = {de} } @article{WeinzierlLepaAckermann2018, author = {Weinzierl, Stefan and Lepa, Steffen and Ackermann, David}, title = {A measuring instrument for the auditory perception of rooms: The Room Acoustical Quality Inventory (RAQI)}, series = {The Journal of the Acoustical Society of America}, volume = {144}, journal = {The Journal of the Acoustical Society of America}, number = {3}, publisher = {Acoustical Society of America}, issn = {0001-4966}, doi = {10.1121/1.5051453}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-58954}, pages = {1245 -- 1257}, year = {2018}, abstract = {With the Room Acoustical Quality Inventory (RAQI), a measuring instrument for the perceptual space of performance venues for music and speech has been developed. First, a focus group with room acoustical experts determined relevant aspects of room acoustical impression in the form of a comprehensive list of 50 uni- and bipolar items in different categories. Then, n = 190 subjects rated their acoustical impression of 35 binaurally simulated rooms from 2 listening positions, with symphonic orchestra, solo trumpet, and dramatic speech as audio content. Subsequent explorative and confirmative factor analyses of the questionnaire data resulted in three possible solutions with four, six, and nine factors of room acoustical impression. The factor solutions, as well as the related RAQI items, were tested in terms of reliability, validity, and several types of measurement invariance, and were cross-validated by a follow-up experiment with a subsample of 46\% of the original participants, which provided re-test reliabilities and stability coefficients for all RAQI constructs. The resulting psychometrically evaluated measurement instrument can be used for room quality assessment, acoustical planning, and the further development of room acoustical parameters in order to predict primary acoustical qualities of venues for music and speech.}, language = {en} } @phdthesis{Ackermann2024, author = {Ackermann, David}, title = {Dynamic Sound Sources for Virtual Acoustic Reality: Description, Implementation and Evaluation}, publisher = {TU Berlin}, address = {Berlin}, doi = {10.14279/depositonce-19949}, school = {Hochschule D{\"u}sseldorf}, year = {2024}, abstract = {terns, especially those presented by natural sources such as musical instruments or human voices, is crucial. While static sound sources, such as loudspeakers, have a relatively consistent acoustic footprint, dynamic sources present a multi-faceted set of challenges. Musical instruments, for example, have dynamic radiation patterns. The directivity of these instruments changes not only with frequency, but also with the specific note being played, and with the performer's gestures. These dynamic effects of directivity influences both the perceived loudness and the timbre at a given location within the audience and shapes the spatial characteristics of the sound field produced. This modulation is crucial when recreating authentic acoustic environments, whether in a virtual environment or in real-world architectural designs. Essentially, for an acoustic simulation to be considered accurate, it must capture these nuances. The intricate interplay of directivity, pitch and motion significantly shapes the listening experience and requires deeper integration of these elements into future simulations and designs.}, subject = {Musikalische Akustik}, language = {en} } @article{BrinkmannAspoeckAckermannetal.2019, author = {Brinkmann, Fabian and Asp{\"o}ck, Lukas and Ackermann, David and Lepa, Steffen and Vorl{\"a}nder, Michael and Weinzierl, Stefan}, title = {A Round Robin on Room Acoustical Simulation and Auralization}, series = {Journal of the Acoustical Society of America}, volume = {145}, journal = {Journal of the Acoustical Society of America}, number = {4}, publisher = {Acoustical Society of America}, issn = {0001-4966}, doi = {10.1121/1.5096178}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-59034}, pages = {2746 -- 2760}, year = {2019}, abstract = {A round robin was conducted to evaluate the state of the art of room acoustic modeling software both in the physical and perceptual realms. The test was based on six acoustic scenes highlighting specific acoustic phenomena and for three complex, "real-world" spatial environments. The results demonstrate that most present simulation algorithms generate obvious model errors once the assumptions of geometrical acoustics are no longer met. As a consequence, they are neither able to provide a reliable pattern of early reflections nor do they provide a reliable prediction of room acoustic parameters outside a medium frequency range. In the perceptual domain, the algorithms under test could generate mostly plausible but not authentic auralizations, i.e., the difference between simulated and measured impulse responses of the same scene was always clearly audible. Most relevant for this perceptual difference are deviations in tone color and source position between measurement and simulation, which to a large extent can be traced back to the simplified use of random incidence absorption and scattering coefficients and shortcomings in the simulation of early reflections due to the missing or insufficient modeling of diffraction.}, language = {en} } @article{AckermannBrinkmannZotteretal.2021, author = {Ackermann, David and Brinkmann, Fabian and Zotter, Franz and Kob, Malte and Weinzierl, Stefan}, title = {Comparative Evaluation of Interpolation Methods for the Directivity of Musical Instruments}, series = {EURASIP Journal on Audio, Speech, and Music Processing}, volume = {2021}, journal = {EURASIP Journal on Audio, Speech, and Music Processing}, number = {1}, publisher = {Springer Nature}, issn = {1687-4722}, doi = {10.1186/s13636-021-00223-6}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-58992}, year = {2021}, abstract = {Measurements of the directivity of acoustic sound sources must be interpolated in almost all cases, either for spatial upsampling to higher resolution representations of the data, for spatial resampling to another sampling grid, or for use in simulations of sound propagation. The performance of different interpolation techniques applied to sparsely sampled directivity measurements depends on the sampling grid used but also on the radiation pattern of the sources themselves. Therefore, we evaluated three established approaches for interpolation from a low-resolution sampling grid using high-resolution measurements of a representative sample of musical instruments as a reference. The smallest global error on average occurs for thin plate pseudo-spline interpolation. For interpolation based on spherical harmonics (SH) decomposition, the SH order and the spatial sampling scheme applied have a strong and difficult to predict influence on the quality of the interpolation. The piece-wise linear, spherical triangular interpolation provides almost as good results as the first-order spline approach, albeit with on average 20 times higher computational effort. Therefore, for spatial interpolation of sparsely sampled directivity measurements of musical instruments, the thin plate pseudo-spline method applied to absolute-valued data is recommended and, if necessary, a subsequent modeling of the phase}, language = {en} } @article{AckermannBrinkmannWeinzierl2024, author = {Ackermann, David and Brinkmann, Fabian and Weinzierl, Stefan}, title = {Musical instruments as dynamic sound sources}, series = {Journal of the Acoustical Society of America}, volume = {155}, journal = {Journal of the Acoustical Society of America}, publisher = {Acoustical Society of America}, issn = {1520‑8524}, doi = {10.1121/10.0025463}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-58972}, pages = {2302 -- 2313}, year = {2024}, abstract = {Unlike electro-acoustic sound sources, musical instruments have a time-varying, dynamic directivity, due to the note-dependent radiation behavior of the instrument and due to the expressive movements that musicians perform with their instrument. While previous studies have generally examined the directivity of the static, unmoved instrument for specific notes played, we show the individual and combined contributions of these two factors to a temporal modulation of the radiation behavior, based on motion tracking of typical movement patterns for all instruments of a classical symphony orchestra and on the directivity measured for all partials over the entire pitch range of these instruments. The effect of this modulation, which is manifested by changes in timbre and room acoustic excitation, was determined by spectral variations in the free field and under reverberant conditions, as well as by a modulation of room acoustic parameters. Our results show that these effects are well above the just noticeable differences for all musical instruments and all perceptual variables considered. While the effect of motion dominates for brass instruments, string and woodwind instruments exhibit large note-related differences, which should be taken into account in virtual acoustic realities if an auditory liveliness comparable to physical reality is to be achieved.}, language = {en} } @article{AckermannBoehmBrinkmannetal.2019, author = {Ackermann, David and B{\"o}hm, Christoph and Brinkmann, Fabian and Weinzierl, Stefan}, title = {The Acoustical Effect of Musicians' Movements During Musical Performances}, series = {Acta Acustica united with Acustica}, volume = {105}, journal = {Acta Acustica united with Acustica}, number = {2}, publisher = {Hirzel}, issn = {1861-9959}, doi = {10.3813/AAA.919319}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-59024}, pages = {356 -- 367}, year = {2019}, abstract = {Acoustic musical instruments act as dynamic sound sources communicating the expressive intentions of a performer to the audience in a dedicated spatial environment. From an acoustical point of view, the directivity of musical instruments is relevant both for the loudness and timbre of an instrument at a certain position in the audience, as well as for the spatial characteristics of the generated sound field. Musical instruments, however, are dynamic sound sources always moved by musicians as an element of their performance on stage. This work aims at assessing the acoustical effect and the perceptual relevance of these movements. For this purpose, we have recorded solo musical performances with all standard orchestral instruments with an optical motion tracking system, as well as the corresponding audio signals. The effect of the movements was evaluated by analysing the spectral fluctuation and the time-dependence of room acoustical parameters in a virtual acoustic environment in anechoic and reverberant conditions. In a subsequent listening test, an auralization of the static and dynamic musical performance was presented to listeners by binaural synthesis, showing that the signal-related fluctuations are clearly audible both in anechoic and reverberant situations. We discuss different approaches how to consider these effects for the simulation of natural acoustic sources in virtual acoustic reality.}, language = {en} } @article{AckermannBrinkmannWeinzierl2024, author = {Ackermann, David and Brinkmann, Fabian and Weinzierl, Stefan}, title = {A Database with Directivities of Musical Instruments}, series = {Journal of the Audio Engineering Society}, volume = {72}, journal = {Journal of the Audio Engineering Society}, number = {3}, publisher = {Audio Engineering Society}, issn = {1549-4950}, doi = {10.17743/jaes.2022.0128}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-58923}, pages = {170 -- 179}, year = {2024}, language = {en} } @article{vonBergWolfSteffens2024, author = {von Berg, Markus and Wolf, Anna-Christina and Steffens, Jochen}, title = {Age- and Sex-Related Differences in Music Requests on a Radio Show for Children}, series = {Music \& Science}, volume = {7}, journal = {Music \& Science}, publisher = {Sage Publications}, issn = {2059-2043}, doi = {10.1177/20592043241288335}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-46588}, pages = {1 -- 16}, year = {2024}, abstract = {In research on the development of musical preferences, children are often asked either to evaluate musical pieces that have been previously selected by adult experimenters, or to give self-reports on preferences for different musical styles. This study involved analyzing a sample of 1,412 freely and publicly expressed music requests from children aged between 4 and 11 years taken from a German radio program, with regard to age- and sex-specific differences. The music was categorized into genres, as listed on Spotify, and examined using methods of music information retrieval provided by the Spotify Developer application programming interface. Results showed that, at younger ages, the requests were generally more evenly distributed across different genres. Regarding single genres, we observed small positive relationships between age and the likelihood of requesting the genres pop or electro and small negative relationships between age and the likelihood of requesting A capella, German songwriter, indie, theme songs, or children's music. Furthermore, we found that boys requested significantly more rock or hip-hop, whereas girls had a higher tendency to ask for pop. Finally, age- (but no sex-) related differences regarding the Spotify features of valence and liveness of the requested music were found, which were related to the preference for children's music at younger ages. The results thus suggest that previous findings regarding differences between boys and girls and an increasing formation of distinct genre preferences during infancy also apply to single song requests made on a radio show.}, language = {en} } @misc{OPUS4-5994, title = {1042 - Zweite Satzung zur {\"A}nderung der Fachbereichsordnung f{\"u}r den Fachbereich Medien der Hochschule D{\"u}sseldorf vom 13.01.2026}, address = {D{\"u}sseldorf}, organization = {Hochschule D{\"u}sseldorf}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-59948}, pages = {2}, year = {2026}, abstract = {Aufgrund der \S\S 2 Abs. 4 S. 1, 26 Abs. 3 S. 2 des Gesetzes {\"u}ber die Hochschulen des Landes Nordrhein-Westfalen (Hochschulgesetz - HG) vom 16.09.2014 (GV. NRW. S. 547) in der aktuell g{\"u}ltigen Fassung und der Grundordnung der Hochschule D{\"u}sseldorf vom 08.10.2015 (Verk{\"u}ndungsblatt der Hochschule D{\"u}sseldorf, Amtliche Mitteilung Nr. 414) in der aktuell g{\"u}ltigen Fassung hat der Fachbe-reich Medien der Hochschule D{\"u}sseldorf die folgende Ordnung als Satzung erlassen.}, language = {de} }