@article{27119, abstract = {{This article examines the normative roots of criteria used for the accreditation of study programs in German higher education based on the orders of worth framework by Boltanski and Thévenot (On justification. Economies of worth, Princeton University Press, Princeton, 2006). From 1999 to 2017, the criteria have been subject to continuous efforts of legitimation, especially by the German Länder, which are in charge of public higher education in Germany. The empirical analysis shows that industrial (e.g., ‘standardization’), civic (e.g., ‘gender justice and equal opportunities’), and civic-industrial (e.g., ‘employability’) codings are the core of accreditation criteria. The normativity of these criteria constitutes accreditation as a technical arrangement running (a) a structural program (e.g., qualifications of academic teachers, modularization of study programs, and quality management) and (b) a political program (e.g., diversity of students and system of studies). Based on the empirical analysis, it is concluded that X does not stand for the accreditation of quality X. X stands for the accreditation of X qualities for specific normative purposes via the higher education accreditation regime.}}, author = {{Schneijderberg, Christian and Steinhardt, Isabel}}, issn = {{0952-8733}}, journal = {{Higher Education Policy}}, pages = {{5--28}}, title = {{{Accreditation of X Qualities Instead of Quality X: A Normative Analysis of Criteria of the German Higher Education Accreditation Regime}}}, doi = {{10.1057/s41307-018-0111-y}}, year = {{2018}}, } @inproceedings{12899, abstract = {{This contribution presents a speech enhancement system for the CHiME-5 Dinner Party Scenario. The front-end employs multi-channel linear time-variant filtering and achieves its gains without the use of a neural network. We present an adaptation of blind source separation techniques to the CHiME-5 database which we call Guided Source Separation (GSS). Using the baseline acoustic and language model, the combination of Weighted Prediction Error based dereverberation, guided source separation, and beamforming reduces the WER by 10:54% (relative) for the single array track and by 21:12% (relative) on the multiple array track.}}, author = {{Boeddeker, Christoph and Heitkaemper, Jens and Schmalenstroeer, Joerg and Drude, Lukas and Heymann, Jahn and Haeb-Umbach, Reinhold}}, booktitle = {{Proc. CHiME 2018 Workshop on Speech Processing in Everyday Environments, Hyderabad, India}}, title = {{{Front-End Processing for the CHiME-5 Dinner Party Scenario}}}, year = {{2018}}, } @inproceedings{6859, abstract = {{Signal processing in WASNs is based on a software framework for hosting the algorithms as well as on a set of wireless connected devices representing the hardware. Each of the nodes contributes memory, processing power, communication bandwidth and some sensor information for the tasks to be solved on the network. In this paper we present our MARVELO framework for distributed signal processing. It is intended for transforming existing centralized implementations into distributed versions. To this end, the software only needs a block-oriented implementation, which MARVELO picks-up and distributes on the network. Additionally, our sensor node hardware and the audio interfaces responsible for multi-channel recordings are presented.}}, author = {{Afifi, Haitham and Schmalenstroeer, Joerg and Ullmann, Joerg and Haeb-Umbach, Reinhold and Karl, Holger}}, booktitle = {{Speech Communication; 13th ITG-Symposium}}, pages = {{1--5}}, title = {{{MARVELO - A Framework for Signal Processing in Wireless Acoustic Sensor Networks}}}, year = {{2018}}, } @article{22996, abstract = {{The effective control design of a dynamical system traditionally relies on a high level of system understanding, usually expressed in terms of an exact physical model. In contrast to this, reinforcement learning adopts a data-driven approach and constructs an optimal control strategy by interacting with the underlying system. To keep the wear of real-world systems as low as possible, the learning process should be short. In our research, we used the state-of-the-art reinforcement learning method PILCO to design a feedback control strategy for the swing-up of the double pendulum on a cart with remarkably few test iterations at the test bench. PILCO stands for “probabilistic inference for learning control” and requires only few expert knowledge for learning. To achieve the swing-up of a double pendulum on a cart to its upper unstable equilibrium position, we introduce additional state restrictions to PILCO, so that the limited cart distance can be taken into account. Thanks to these measures, we were able to learn the swing up at the real test bench for the first time and in only 27 learning iterations.}}, author = {{Hesse, Michael and Timmermann, Julia and Hüllermeier, Eyke and Trächtler, Ansgar}}, journal = {{Procedia Manufacturing}}, pages = {{15 -- 20}}, title = {{{A Reinforcement Learning Strategy for the Swing-Up of the Double Pendulum on a Cart}}}, volume = {{24}}, year = {{2018}}, } @inproceedings{11747, abstract = {{In this paper, we present a neural network based classification algorithm for the discrimination of moving from stationary targets in the sight of an automotive radar sensor. Compared to existing algorithms, the proposed algorithm can take into account multiple local radar targets instead of performing classification inference on each target individually resulting in superior discrimination accuracy, especially suitable for non rigid objects, like pedestrians, which in general have a wide velocity spread when multiple targets are detected.}}, author = {{Grimm, Christopher and Breddermann, Tobias and Farhoud, Ridha and Fei, Tai and Warsitz, Ernst and Haeb-Umbach, Reinhold}}, booktitle = {{International Conference on Microwaves for Intelligent Mobility (ICMIM) 2018}}, title = {{{Discrimination of Stationary from Moving Targets with Recurrent Neural Networks in Automotive Radar}}}, year = {{2018}}, } @inproceedings{11907, abstract = {{The invention of the Variational Autoencoder enables the application of Neural Networks to a wide range of tasks in unsupervised learning, including the field of Acoustic Unit Discovery (AUD). The recently proposed Hidden Markov Model Variational Autoencoder (HMMVAE) allows a joint training of a neural network based feature extractor and a structured prior for the latent space given by a Hidden Markov Model. It has been shown that the HMMVAE significantly outperforms pure GMM-HMM based systems on the AUD task. However, the HMMVAE cannot autonomously infer the number of acoustic units and thus relies on the GMM-HMM system for initialization. This paper introduces the Bayesian Hidden Markov Model Variational Autoencoder (BHMMVAE) which solves these issues by embedding the HMMVAE in a Bayesian framework with a Dirichlet Process Prior for the distribution of the acoustic units, and diagonal or full-covariance Gaussians as emission distributions. Experiments on TIMIT and Xitsonga show that the BHMMVAE is able to autonomously infer a reasonable number of acoustic units, can be initialized without supervision by a GMM-HMM system, achieves computationally efficient stochastic variational inference by using natural gradient descent, and, additionally, improves the AUD performance over the HMMVAE.}}, author = {{Glarner, Thomas and Hanebrink, Patrick and Ebbers, Janek and Haeb-Umbach, Reinhold}}, booktitle = {{INTERSPEECH 2018, Hyderabad, India}}, title = {{{Full Bayesian Hidden Markov Model Variational Autoencoder for Acoustic Unit Discovery}}}, year = {{2018}}, } @inproceedings{11838, abstract = {{Distributed sensor data acquisition usually encompasses data sampling by the individual devices, where each of them has its own oscillator driving the local sampling process, resulting in slightly different sampling rates at the individual sensor nodes. Nevertheless, for certain downstream signal processing tasks it is important to compensate even for small sampling rate offsets. Aligning the sampling rates of oscillators which differ only by a few parts-per-million, is, however, challenging and quite different from traditional multirate signal processing tasks. In this paper we propose to transfer a precise but computationally demanding time domain approach, inspired by the Nyquist-Shannon sampling theorem, to an efficient frequency domain implementation. To this end a buffer control is employed which compensates for sampling offsets which are multiples of the sampling period, while a digital filter, realized by the wellknown Overlap-Save method, handles the fractional part of the sampling phase offset. With experiments on artificially misaligned data we investigate the parametrization, the efficiency, and the induced distortions of the proposed resampling method. It is shown that a favorable compromise between residual distortion and computational complexity is achieved, compared to other sampling rate offset compensation techniques.}}, author = {{Schmalenstroeer, Joerg and Haeb-Umbach, Reinhold}}, booktitle = {{26th European Signal Processing Conference (EUSIPCO 2018)}}, title = {{{Efficient Sampling Rate Offset Compensation - An Overlap-Save Based Approach}}}, year = {{2018}}, } @inproceedings{11876, abstract = {{This paper describes the systems for the single-array track and the multiple-array track of the 5th CHiME Challenge. The final system is a combination of multiple systems, using Confusion Network Combination (CNC). The different systems presented here are utilizing different front-ends and training sets for a Bidirectional Long Short-Term Memory (BLSTM) Acoustic Model (AM). The front-end was replaced by enhancements provided by Paderborn University [1]. The back-end has been implemented using RASR [2] and RETURNN [3]. Additionally, a system combination including the hypothesis word graphs from the system of the submission [1] has been performed, which results in the final best system.}}, author = {{Kitza, Markus and Michel, Wilfried and Boeddeker, Christoph and Heitkaemper, Jens and Menne, Tobias and Schlüter, Ralf and Ney, Hermann and Schmalenstroeer, Joerg and Drude, Lukas and Heymann, Jahn and Haeb-Umbach, Reinhold}}, booktitle = {{Proc. CHiME 2018 Workshop on Speech Processing in Everyday Environments, Hyderabad, India}}, title = {{{The RWTH/UPB System Combination for the CHiME 2018 Workshop}}}, year = {{2018}}, } @inproceedings{11836, abstract = {{Due to their distributed nature wireless acoustic sensor networks offer great potential for improved signal acquisition, processing and classification for applications such as monitoring and surveillance, home automation, or hands-free telecommunication. To reduce the communication demand with a central server and to raise the privacy level it is desirable to perform processing at node level. The limited processing and memory capabilities on a sensor node, however, stand in contrast to the compute and memory intensive deep learning algorithms used in modern speech and audio processing. In this work, we perform benchmarking of commonly used convolutional and recurrent neural network architectures on a Raspberry Pi based acoustic sensor node. We show that it is possible to run medium-sized neural network topologies used for speech enhancement and speech recognition in real time. For acoustic event recognition, where predictions in a lower temporal resolution are sufficient, it is even possible to run current state-of-the-art deep convolutional models with a real-time-factor of 0:11.}}, author = {{Ebbers, Janek and Heitkaemper, Jens and Schmalenstroeer, Joerg and Haeb-Umbach, Reinhold}}, booktitle = {{ITG 2018, Oldenburg, Germany}}, title = {{{Benchmarking Neural Network Architectures for Acoustic Sensor Networks}}}, year = {{2018}}, } @inproceedings{11839, abstract = {{It has been experimentally verified that sampling rate offsets (SROs) between the input channels of an acoustic beamformer have a detrimental effect on the achievable SNR gains. In this paper we derive an analytic model to study the impact of SRO on the estimation of the spatial noise covariance matrix used in MVDR beamforming. It is shown that a perfect compensation of the SRO is impossible if the noise covariance matrix is estimated by time averaging, even if the SRO is perfectly known. The SRO should therefore be compensated for prior to beamformer coefficient estimation. We present a novel scheme where SRO compensation and beamforming closely interact, saving some computational effort compared to separate SRO adjustment followed by acoustic beamforming.}}, author = {{Schmalenstroeer, Joerg and Haeb-Umbach, Reinhold}}, booktitle = {{ITG 2018, Oldenburg, Germany}}, title = {{{Insights into the Interplay of Sampling Rate Offsets and MVDR Beamforming}}}, year = {{2018}}, } @inproceedings{23535, author = {{Neubauer, Georg and Rainer, Karin and Pottebaum, Jens and Knesic, Snjezana and Baucic, Martina}}, booktitle = {{IDIMT-2018. Strategic modeling in management, economy and society : 26th Interdisciplinary Information Management Talks, Band 47}}, editor = {{Doucek, Petr and Chroust, Gerhard and Oskrdal, Václav}}, location = {{Kutná Hora, Czech Republic, 5. - 7. Sep. 2018}}, pages = {{189--195}}, publisher = {{Trauner Verlag}}, title = {{{Approaches on How to analyse Terms and Definitions Applied in the Domain of Crisis and Disaster Management}}}, volume = {{47}}, year = {{2018}}, } @inproceedings{23547, author = {{Gräßler, Iris and Pottebaum, Jens and Scholle, Philipp}}, booktitle = {{International Journal of Information Systems for Crisis Response and Management}}, pages = {{20--37}}, publisher = {{International Journal of Information Systems for Crisis Response and Management}}, title = {{{ Influence Factors for Innovation in Digital Self-Preparedness Services and Tools}}}, doi = {{10.4018/IJISCRAM.2018010102}}, year = {{2018}}, } @article{50874, author = {{Blank, Andreas}}, journal = {{Perspectives on Science}}, number = {{2}}, pages = {{157--184}}, title = {{{“Sixteenth-Century Pharmacology and the Controversy between Reductionism and Emergentism.” }}}, volume = {{26}}, year = {{2018}}, } @article{50873, author = {{Blank, Andreas}}, journal = {{Hypatia}}, number = {{3}}, pages = {{289--304}}, title = {{{“Anne-Thérèse de Lambert on Aging and Self-Esteem.” }}}, volume = {{33}}, year = {{2018}}, } @inbook{50930, author = {{Blank, Andreas}}, booktitle = {{Women Philosophers on Autonomy. }}, editor = {{Bergès, Sandrine and Siani, Alberto}}, pages = {{43--60}}, publisher = {{Routledge}}, title = {{{“Complaisance and the Question of Autonomy in the French Women Moralists, 1650–1710.” }}}, year = {{2018}}, } @inbook{50929, author = {{Blank, Andreas}}, booktitle = {{Locke and Cartesian Philosophy. }}, editor = {{Hamou, Philippe and Pécharman, Martine}}, pages = {{186--204}}, publisher = {{Oxford University Press}}, title = {{{“Cartesian Logic and Locke’s Critique of Maxims.” }}}, year = {{2018}}, } @inbook{49932, abstract = {{Wie versetzen Eugène Scribe und Giacomo Meyerbeer den Chor auf der Opernbühne in Bewegung – in innere Bewegung, und ebenso in äußere –, so dass diese Bewegung spontan und ›realistisch‹ erscheint? Ausgehend von einigen allgemeinen Thesen zur Musikdramaturgie Scribe’scher Grands opéras will die vorliegende Lektüre von Libretti, Partituren und livrets de mise en scène einige Schlaglichter auf prominente Momente der Gruppen- und Chordramaturgie in Les Huguenots und Le Prophète werfen. Stärker als bislang üblich soll dabei auch die zentrale Rolle der Librettistik herausgestellt werden, die insbesondere im Bereich der Exposition und dramaturgischen Führung der Nebenrollen entscheidende Voraussetzungen schafft. Zudem soll die gängige Lesart, wonach Meyerbeers Chordramaturgie im Kern eine Dramaturgie der ›Massen‹ sei, differenziert und in bestimmter Hinsicht auch relativiert werden. Die Ensemble- und Chordramaturgien in Les Huguenots und Le Prophéte können gleichermaßen als Beispiele der eingangs umrissenen Scribe’schen dramaturgischen Grundtechnik gelesen werden, die darauf beruht, die Verständnisgrundlagen der Stücke vollständig und lückenlos im Inneren der Stücke selbst zu vermitteln. (Es gibt nichts, was man schon vorher über Hugenotten oder Anabaptisten wissen müsste, um die Intrigen von Les Huguenots bzw. Le Prophète in allen Details zu verstehen.) Die Verfahren einer ›realistischen‹ Chordramaturgie mithilfe einer Vielzahl librettistisch bereitgestellter Nebenrollen, die als ›Chor-Individuen‹ selbst die ›Massen‹-Chöre gleichsam als maximierte Ensembles konfigurieren und dadurch von Innen heraus plausibilisieren, haben genau in diesem Zusammenhang in beiden Werken eine tragende Funktion: Gerade diese beiden Werke setzen eine Dynamik der ›Massen‹ nicht etwa einfach als Zeitphänomene und allgemeine Erfahrung voraus, sondern lassen im Gegenteil mit großer (musik)dramaturgischer Präzision das Wirken von ›Massen‹ als Folge des Handelns von lauter Individuen erscheinen.}}, author = {{Münzmay, Andreas}}, booktitle = {{Bild und Bewegung im Musiktheater. Interdisziplinäre Studien im Umfeld der Grand Opéra / Image and Movement in Music Theatre. Interdisciplinary Studies around Grand Opéra}}, editor = {{Brotbeck, Roman and Moeckli, Laura and Schaffer, Anette and Schroedter, Stephanie and Allenbach, Daniel}}, isbn = {{978-3-931264-89-5}}, pages = {{198 -- 220}}, publisher = {{Argus}}, title = {{{Chor-Individuen. Anmerkungen zur ‚realistisch‘ bewegten Chordramaturgie in Les Huguenots und Le Prophète}}}, volume = {{9}}, year = {{2018}}, } @article{47481, author = {{Münzmay, Andreas}}, issn = {{0044-2380}}, journal = {{Zeitschrift für Bibliothekswesen und Bibliographie (ZfBB)}}, keywords = {{Library and Information Sciences}}, number = {{2-3}}, pages = {{101--104}}, publisher = {{Klostermann}}, title = {{{Der FID Musikwissenschaft (Musiconn) in Lehre und Forschung. Kommentar aus Nutzer-Perspektive}}}, doi = {{10.3196/1864295018652390}}, volume = {{65}}, year = {{2018}}, } @inbook{49928, abstract = {{Die französische Opéra comique in ihrer Umbruchphase nach 1750 kann im Sinne Gilles Deleuzes als idealtypisch ›barock‹ begriffen werden. Die vermeintlich simplen musikalischen Oberflächen, auf die Analyse in den unzähligen Opéras comiques des 18. Jahrhunderts immer dann trifft, wenn Melodiezitate im Spiel sind, sind dabei integraler Teil eines komplexen wissenskulturellen Systems. Können die Begriffe der »Falte« und der »Virtualität« eine poststrukturalistisch inspirierte Analyse befördern, die an das Hypertextualitätskonzept, wie es Gérard Genette 1982 mit Palimpsestes: La littérature au second degré so griffig systematisiert hat, anschließt, aber auch darüber hinaus geht? Um diese Frage soll es im ersten Teil des vorliegenden Versuchs gehen. Im zweiten Teil soll überlegt werden, auf welche spezifische Weise XML-Codierung (als Kernverfahren digitaler Edition) und analytische Erkenntnismöglichkeiten interagieren. Anlass und Materialbasis für einen solchen Ausblick auf digitale Editionsmethoden soll die 2016 erschienene digitale Edition des Werks Annette et Lubin von Justine Favart sein, die in etwa sechsjähriger Arbeit im Frankfurter Akademienprojekt OPERA – Spektrum des europäischen Musiktheaters. Historisch-kritische Hybridausgaben erarbeitet werden konnte.}}, author = {{Münzmay, Andreas}}, booktitle = {{Symposiumsbericht ‚Virtualitäten des Barock. Deleuze und musikalische Analyse‘}}, editor = {{Petersen, Birger}}, publisher = {{Schott Campus}}, title = {{{Virtualitäten der Opéra comique und XML-Kode als ‚Teleskop‘}}}, doi = {{urn:nbn:de:101:1-2018101811433555555600}}, year = {{2018}}, } @article{47480, abstract = {{Digitalisierung generiert ‚hybride‘ Objekte, die zwar als digitale Datei lesbar und manipulierbar sind, das zugrundeliegende kulturhistorische Objekt jedoch weiterhin ‚enthalten‘. Eine Bibliothek, die Objekte aus ihren Beständen digitalisiert, begründet also eigentlich keine sog. digitale Bibliothek, sondern eine hybride Bibliothek. Im Falle musikalischer Überlieferung ist die Sachlage aufgrund der medienhistorischen Komplexität musikalischer Artefakte besonders unübersichtlich. Verschärft wird die heutige Situation noch durch die Erzeugnisse der Digital Humanities, die keineswegs bloß ‚Informationen‘ sind, sondern ihrerseits komplexe und in der Regel hybride Textgebilde, die häufig komplette digitalisierte Re-Publikationen von Kulturobjekten einbinden, die digital ‚beschriftet‘ und vernetzt werden. Das digitale ‚Dickicht‘ erfordert einen gleichsam genetischen und relationalen Katalog, in dem die konkreten kulturhistorischen Objekte in ihren konkreten Sammlungskontexten – also als Unikate – Ankerfunktion haben. Der Essay geht zurück auf einen Vortrag bei der AIBM-Jahrestagung, Symposium der AG Musikabteilungen an wissenschaftlichen Bibliotheken, Detmold, 8. September 2016.}}, author = {{Münzmay, Andreas}}, issn = {{1865-7648}}, journal = {{Bibliothek: Forschung und Praxis}}, number = {{2}}, pages = {{236--246}}, publisher = {{De Gruyter}}, title = {{{Lesen und Schreiben im digitalen Dickicht. Musikwissenschaft, Digital Humanities und die hybride Musikbibliothek}}}, doi = {{10.1515/bfp-2018-0031}}, volume = {{42}}, year = {{2018}}, }