Experience Music Experiment

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 Miladinović 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).

"Experience Music Experiment" was edited by William Brooks.

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.

Yes, "Experience Music Experiment" is part of the "Orpheus Institute Series" series.

Throughout the Orpheus Institute’s various activities there is a clear focus on the development of a new research discipline in the arts, one that addresses questions and topics that are at the heart of musical practice, building on the unique expertise and perspectives of musicians and in constant dialogue with more established research disciplines.

Within this context, the Orpheus Institute launched an international Research Centre in 2007 that acts as a stable constituent within an ever-growing field of enquiry. The Orpheus Research Centre is a place where musical artists can fruitfully conduct individual and collaborative research on issues that are of concern to all involved in artistic practice. It is important that at the centre of the international Orpheus Institute network is a place, a building, a community. As the concepts and methodologies of artistic research in music have evolved, work at Orpheus Institute has found new structures. Since 2012, research has been consolidated into a number of groups focused on specific areas, each led by a principal investigator of substantial international reputation as a practicing musician. The work of Orpheus Institute is disseminated through events, publications and musical performances, and through its active animation of discussion within the sector.

This series of peer-reviewed publications —launched in 2013— encompasses monographs by Research Fellows and associates of the Orpheus Institute, compilations of lectures, texts, and performances from seminars and study days, and edited volumes on topics arising from work at the institute. Research can be presented in digital media as well as printed texts. As a whole, the series is meant to enhance and advance discourse in the field of artistic research in music and to generate future work in this emerging and vital area of study.

Editorial board

William Brooks (Chair, Series Editor), Peter Dejans, Jonathan Impett, Kathleen Coessens, Paulo de Assis, Heike Vermeire, Ed Crooks, Laura Cull, Aurelie Daems

Proposals

Proposals and enquiries can be sent to the series editor William Brooks.
Please make use of the submission form to present your manuscript or proposal to our board.
Authors interested in Open Access can consult the available funding options.

Links & Resources

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 Miladinović 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

The Digital Object Identifier (DOI) for "Experience Music Experiment" is 10.11116/9789461663924.