UID:
edocfu_9959238749902883
Format:
1 online resource (416 p.)
Edition:
1st ed.
ISBN:
94-6166-166-5
Series Statement:
Orpheus Institute series
Content:
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 experimentat
Note:
Description based upon print version of record.
,
Introduction; Darla Crispin and Bob Gilmore; Section I; Towards an Understanding of Experimentation in Artistic Practice; Five Maps of the Experimental World; Bob Gilmore; The Exposition of Practice as Research as Experimental Systems; Michael Schwab; Epistemic Complexity and Experimental Systems in Music Performance; Paulo de Assis; Experimental Art as Research; Godfried-Willem Raes; Tiny Moments of Experimentation: ; Kairos in the Liminal Space of Performance; Kathleen Coessens; The Web of Artistic Practice:; A Background for Experimentation; Kathleen Coessens
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Towards an Ethical-Political Role for Artistic ResearchMarcel Cobussen; A New Path to Music: ; Experimental Exploration and Expression of an Aesthetic Universe; Bart Vanhecke; From Experimentation to Construction; Richard Barrett; Artistic Research and Experimental Systems:; The Rheinberger Questionnaire and Study Day - A Report; Michael Schwab; Section II; The Role of the Body: Tacit and Creative Dimensions of Artistic Experimentation; Embodiment and Gesture in Performance: ; Practice-Based Perspectives; Catherine Laws; Order Matters; A Thought on How to Practise ; Mieko Kanno
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Association-Based Experimentation as an Artistic Research MethodValentin Gloor; Association and Selection:; Toward a New Flexibility in the Form and Content of the Liederabend; Valentin Gloor; Il palpitar del core: ; The Heart-Beat of the "First Opera"; Andrew Lawrence-King; Techno-Intuition: ; Experiments with Sound in the Environment; Yolande Harris; Section III; Experimenting with Materials in the Processes of Music-Making; what if?; Larry Polansky; Historical Precedents for Artistic Research in Music:; The Case of William Butler Yeats; William Brooks
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Cageian Interpenetration and the Nature-Artifice DistinctionSteve Tromans; Revisiting Luigi Nono's Suffered, Serene Waves; Paulo de Assis; On Kagel's Experimental Sound Producers: ; An Illustrated Interview with a Historical Performer; Luk Vaes; Composing as a Way of Doing Philosophy; Nicholas G. Brown; Cycles of Experimentation and the Creative Process of Music Composition; Hans Roels; Changing Sounds, Changing Meanings: ; How Artistic Experimentation Opens Up the Field of Brahms Performance Practice; Anna Scott; Experiments in Time:
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Music-Research with Jazz Standards in the Professional ContextSteve Tromans; Ecosonics: ; Music and Birdsong, Ends and Beginnings; Stephen Preston; Section IV ; Sound and Space: Environments and Interactions; Speaking and Singing in Different Rooms:; Conceptuality and Variation in Alvin Lucier's I Am Sitting in a Room; Paul Craenen; Experiment in Practice; Catherine Laws; The Virtual Haydn: ; An Experiment in Recording, Performing, and Publishing; Tom Beghin; On Life Is Too Precious: ; Blending Musical and Research Goals through Experimentation; Juan Parra Cancino
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Interview with Agostino Di Scipio
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English
Additional Edition:
ISBN 94-6270-013-3
Language:
English
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