Buch, Englisch, 230 Seiten, Format (B × H): 190 mm x 286 mm, Gewicht: 851 g
Reihe: Orpheus Institute Series
Buch, Englisch, 230 Seiten, Format (B × H): 190 mm x 286 mm, Gewicht: 851 g
Reihe: Orpheus Institute Series
ISBN: 978-90-5867-976-5
Verlag: LEUVEN UNIV PR
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Virginia Anderson (Experimental Music Catalogue), Paulo de Assis (Orpheus Institute), Sandeep Bhagwati (Concordia University Montréal), Robin T. Bier (University of York), Maria Calissendorff (Royal College of Music, Stockholm), Miguelangel Clerc (Leiden University), Kathleen Coessens (Vrije Universiteit Brussel and Orpheus Institute), Jeremy Cox (European Association of Conservatoires – AEC), Darla Crispin (Orpheus Institute), Anne Douglas (Robert Gordon University), Gregorio García Karman (University of Huddersfield), Yolande Harris (Leiden University), Susanne Jaresand (Royal College of Music, Stockholm), Tanja Orning (Norwegian Academy of Music, Oslo), Paul Roberts (Guildhall School of Music and Drama, London), Anna Scott (Leiden University), Andreas Georg Stascheit (Institute for Advanced Study in the Humanities, Essen/Dortmund University)
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
Prelude
Paulo de Assis
Part I: Score and Idea
Chapter 1
What I say and What I do: The Role of Composers' Own
Performances of Their Scores in Answering Our Research
Questions about Their Works and How We Should Interpret Them
Jeremy Cox
Chapter 2
“The Mysterious Whether Seen as Inspiration or as Alchemy”:
Some Thoughts on the Limitations of Notation
Paul Roberts
Chapter 3
Artistic Practice, Methodology, and Subjectivity: The “I Can”
as Practical Possibility and Original Consciousness
Andreas Georg Stascheit
Chapter 4
From Territories to Transformations: Anton Webern's Piano
Variations Op. 27 as a Case Study for Research in-and-through
Musical Practice
Darla Crispin
Interlude I: Exploring Musical Integrity and Experimentation
Kathleen Coessens
Part II: Mapping the Interface
Chapter 5
Poem as Score: Finding Melodies for Unnotated
Troubadour Songs
Robin T. Bier
Chapter 6
Sound Drifts: The Phenomenon of Stylistic Change
in the Interpretation of Fixed Texts
Anna Scott
Chapter 7
Pression Revised: Anatomy of Sound, Notated Energy,
and Performance Practice
Tanja Orning
Chapter 8
The In(visible) Sound
Miguelà ngel Clerc
Interlude II: The Score on Shifting Grounds
Kathleen Coessens
Part III: Extending the Boundaries
Chapter 9
The Beginning of Happiness: Approaching Scores in Graphic and
Text Notation
Virginia Anderson
Chapter 10
Closing the Gap between Sound and Score in the Performance
of Electroacoustic Music
Gregorio García Karman
Chapter 11
Notational Perspective and Comprovisation
Sandeep Bhagwati
Interlude III: The Score beyond Music
Kathleen Coessens
Part IV: Choreographies of Sound
Chapter 12
A Physical Interpretation of a Score in a Listening Attitude
Susanne Jaresand and Maria Calissendorff
Chapter 13
Score as Relationship: From Scores to Score Spaces to Scorescapes
Yolande Harris
Chapter 14
Drawing and the Score
Anne Douglas
Postlude
Kathleen Coessens
Personalia
Index