Buch, Englisch, 376 Seiten, Format (B × H): 195 mm x 285 mm, Gewicht: 1310 g
Reihe: Orpheus Institute Series
Buch, Englisch, 376 Seiten, Format (B × H): 195 mm x 285 mm, Gewicht: 1310 g
Reihe: Orpheus Institute Series
ISBN: 978-94-6270-258-5
Verlag: Leuven University Press
creation of music
The practices and
perception of music creation have evolved with the cultural, social and
technological contexts of music and musicians. But musical authorship, in its
many technical and aesthetic modes, remains an important component of music
culture. Musicians are increasingly called on to share their experience in
writing. However, cultural imperatives to account for composition as knowledge
production and to make claims for its uniqueness inhibit the development of
discourse in both expert and public spheres. Internet pioneer Philip Agre
observed a discourse deficit in artificial intelligence research and proposed a
critical technical practice, a single disciplinary field with “one foot planted
in the craft work of design and the other foot planted in the reflexive work of
critique. … A critical technical practice rethinks its own premises,
re-evaluates its own methods, and reconsiders its own concepts as a routine
part of its daily work.”
This volume considers the potential for critical technical practice in the
evolving situation of composition across a wide range of current practices. In
seeking to tell more honest, useful stories of composition, it hopes to
contribute to a new discourse around the creation of music.
Contributors: Patricia Alessandrini (Stanford University), Alan Blackwell (University of Cambridge), Nicholas Brown (Trinity College Dublin), Marko Ciciliani (University of Music and Performing Arts Graz, Austria), Nicolas Collins (The School of the Art Institute of Chicago), Agostino Di Scipio (Music Conservatory of L’Aquila / "Arts, écologies, transitions" Research Team, Paris), Daniela Fantechi (Orpheus Institute / University of Antwerp), Ambrose Field (University of York), Karim Haddad (IRCAM - Centre Georges Pompidou), Jonathan Impett (Orpheus Institute), Thor Magnusson (University of Sussex / Iceland University of the Arts), Scott McLaughlin (University of Leeds), Lula Romero (composer), David Rosenboom (composer), Ann Warde (independent scholar), Laura Zattra (IRCAM / Rovigo Conservatories of Music), Julie Zhu (Stanford University)
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
Introduction: Music-Making and Storytelling
Jonathan Impett
Too Cool to Boogie: Craft, Culture, and Critique in ComputingAlan F. Blackwell
Illusions of FormDavid Rosenboom
What to Ware? A Guide to Today’s Technological WardrobeNicolas Collins
Toward a Critical Musical PracticeAnn Warde
The Composer’s Domain: Method and MaterialNicholas Brown
Dissociation and Interference in Composers’ Stories about Music: The Renewal of Musical DiscourseJonathan Impett
Plates
The Impossibility of Material FoundationsScott McLaughlin
Thinking Liveness in Performance with Live Electronics: The Need for an Eco-systemic Notion of AgencyAgostino Di Scipio
Experiment and Experience: Compositional Practice as CritiqueLula Romero
Designing the Threnoscope or, How I Wrote One of My PiecesThor Magnusson
A Few Reflections about Compositional Practice through a Personal NarrativeDaniela Fantechi
Temporal Poetics as a Critical Technical PracticeKarim Haddad
Collaborative Creation in Electroacoustic Music: Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl FaiaLaura Zattra
Parlour Sounds: A Critical Compositional Process towards a Cyberfeminist Theory of Music TechnologyPatricia Alessandrini and Julie Zhu
Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical RationalityAmbrose Field
Designing Audience–Work RelationshipsMarko Ciciliani
Online MaterialsNotes on ContributorsIndex
