ARTISTIC EXPERIMENTATION IN MU

01. Auflage 2014
ISBN: 978-94-6270-013-0
Verlag: LEUVEN UNIV PR

Buch, Englisch, 416 Seiten, Format (B × H): 190 mm x 285 mm, Gewicht: 1460 g

Reihe: Orpheus Institute Series

Essential reading for anyone interested in artistic research applied to music.

This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus Research Centre in Music (ORCiM) in Ghent, Belgium. The book critically examines experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues.

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

Contributors: Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM).

Autoren/Hrsg.

Crispin, Darla

Gilmore, Bob

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

IntroductionDarla Crispin and Bob Gilmore
Section ITowards an Understanding of Experimentation in Artistic Practice
Five Maps of the Experimental WorldBob GilmoreThe Exposition of Practice as Research as Experimental SystemsMichael SchwabEpistemic Complexity and Experimental Systems in Music PerformancePaulo de AssisExperimental Art as ResearchGodfried-Willem RaesTiny Moments of Experimentation: Kairos in the Liminal Space of PerformanceKathleen CoessensThe Web of Artistic Practice: A Background for ExperimentationKathleen CoessensTowards an Ethical-Political Role for Artistic ResearchMarcel CobussenA New Path to Music: Experimental Exploration and Expression of an Aesthetic UniverseBart VanheckeFrom Experimentation to CONSTRUCTIONRichard BarrettArtistic Research and Experimental Systems: The Rheinberger Questionnaire and Study Day - A ReportMichael Schwab Section IIThe Role of the Body: Tacit and Creative Dimensions of Artistic Experimentation
Embodiment and Gesture in Performance: Practice-led PerspectivesCatherine LawsOrder Matters: A Thought on How to PractiseMieko KannoAssociation-Based Experimentation as an Artistic Research MethodValentin GloorAssociation and Selection: Toward a New Flexibility in the Form and Content of the LiederabendValentin GloorIl palpitar del core: The Heart-Beat of the “First Opera”Andrew Lawrence-KingTechno-Intuition: Experiments with Sound in the EnvironmentYolande Harris Section IIIExperimenting with Materials in the Processes of Music-Making
what if?Larry PolanskyHistorical Precedents for Artistic Research in Music: The Case of William Butler YeatsWilliam BrooksCageian Interpenetration and the Nature–Artifice DistinctionSteve TromansRevisiting Luigi Nono’s Suffered, Serene WavesPaulo de AssisOn Kagel’s Experimental Sound Producers: An Illustrated Interview with a Historical PerformerLuk VaesComposing as a Way of Doing PhilosophyNicholas G. BrownCycles of Experimentation and the Creative Process of Music CompositionHans RoelsChanging Sounds, Changing Meanings: How Artistic Experimentation Opens Up the Field of Brahms Performance PracticeAnna ScottExperiments in Time: Music-Research with Jazz Standards in the Professional ContextSteve TromansEcosonics: Music and Birdsong, Ends and BeginningsStephen Preston Section IVSound and Space: Environments and Interactions
Speaking and Singing in Different Rooms: Conceptuality and Variation in Alvin Lucier’s I Am Sitting in a RoomPaul CraenenExperiment in PracticeCatherine LawsThe Virtual Haydn: An Experiment in Recording, Performing, and PublishingTom BeghinOn Life Is Too Precious: Blending Musical and Research Goals through ExperimentationJuan Parra CancinoInterview with Agostino Di ScipioHans RoelsKairos in the Flow of Musical IntuitionKathleen Coessens and Stefan ÖstersjöHabitus and the Resistance of CultureKathleen Coessens and Stefan ÖstersjöRepetition, Resonance, and DiscernmentKathleen Coessens, Henrik Frisk and Stefan ÖstersjöIntuition, Hexis, and Resistance in Musical ExperimentationKathleen Coessens and Stefan Östersjö
Appendix 1: GlossaryAnna ScottAppendix 2: Contents of CDAppendix 3: Online materialsAppendix 4: Resources for Artistic ExperimentationIndexNotes on Contributors

Über Autor(innen)

Gilmore, Bob
Bob Gilmore is a Research Fellow at the Orpheus Institute (Belgium) and editor of Tempo: A Quarterly Review of New Music (UK).

Crispin, Darla
Darla Crispin is a pianist and musicologist tracing perspectives from artistic research. Formerly an ORCiM Research Fellow, she is currently Associate Professor of Musicology at the Norwegian Academy of Music (NMH), Oslo.