Experience Music Experiment

Erscheinungsjahr 2021
ISBN: 978-94-6270-279-0
Verlag: Leuven University Press

Buch, Englisch, 288 Seiten, Format (B × H): 195 mm x 285 mm, Gewicht: 1003 g

Reihe: Orpheus Institute Series

Challenging perspectives on artistic research in and
through experimental discourse
“Truth happens to an idea.” So wrote William James in
1907; and twenty-four years later John Dewey argued that artistic experience
entailed a process of “doing and undergoing.” But what do these ideas have to
do with music, or with research conducted in and through music—that is, with
“artistic research”? In this collection of essays, fourteen very different
authors respond with distinct and challenging perspectives. Some report on
their own experiments and experiences; some offer
probing analyses of noteworthy practices; some view historical continuities
through the lens of pragmatism and artistic experiment. The resulting
collection yields new insights into what musicians do, how they experiment, and
what they experience—insights that arise not from doctrine, but from diverse
voices seeking common ground in and through experimental discourse: artistic
research in and of itself.

Contributors:

William Brooks (Orpheus Institute), Richard Shusterman (Florida Atlantic
University), Winnie Huang (Orpheus Institute/University of Antwerp/Royal
Conservatoire Antwerp), Marco Fusi (Orpheus Institute/University of
Antwerp/Royal Conservatoire Antwerp), Victoria Tzotzkova (Massachusetts
Institute of Technology) and Fiona Smyth (Trinity College Dublin), Clare Lesser
(New York University Abu Dhabi), Caitlin Rowley (Bath Spa University), Nicholas
Brown (Trinity College Dublin), Ivana Miladinovic Prica (University of Arts in
Belgrade), Thibault Galland (Université Libre de Bruxelles), Garry L. Hagberg
(Bard College), Ann Warde (Independent scholar), Deniz Ertan (Independent
scholar) and Ambrose Field (University of York)

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Autoren/Hrsg.

Brooks, William

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

Acknowledgements

Introduction

William Brooks

Music,
Poetry, and Possession

Richard Shusterman

Part 1:

Doing

The
Pragmatic Musical-Gestural Performer

Winnie Huang

Shaping
Interpretation through Experience: A Case for a Pragmatic Approach to
Contemporary Music Performance

Marco Fusi

Experiments
in Experience: Listening to Rooms and Pianos

Victoria Tzotzkova and Fiona Smyth

The
Rehearsal Process: Finnissy, Hespos, and Pragmatic Approaches to Indeterminacy

Clare Lesser

Part 2:

Making

As If
Unobserved: Experiments towards a Publicly Visible Composition Practice

Caitlin Rowley

Game-Show;
or, The Playful Work of the Voice

Nicholas Brown

The Velicon
and Music of Experience

Ivana Miladinovic Prica

Part 3:

Observing

How to
Embody Truth? Jenny Hval’s Experimentations with Music and Voice

Thibault Galland

The Life of
Rhythm: Musical Time, Dewey’s Pragmatism, and Jazz Improvisation

Garry L. Hagberg

Peirce’s
Aesthetic of Experiment

Ann Warde

Music News
in the Progressive Era: American Experience as Civic Participation, Everyday
Living, and Music Making

Deniz Ertan

Redefining
Progress at the Intersection of AI and Artistic Research

Ambrose Field

Online
Materials

Notes on Contributors

Index

Über Autor(innen)

Brooks, William
William Brooks is professor of music at the University of York, emeritus professor at the University of Illinois, scholar-in-residence at the Newberry Library, and senior research fellow at the Orpheus Institute.