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Experimental Affinities in Music

Paulo de Assis (Editor), Helmut Lachenmann (), Leon Fleisher (), Luk Vaes (), Frederic Rzewski (),

Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

ISBN: 9789462700611

Publication date: March 21, 2016

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Number of pages: 252

Size: 285 x 190 x mm

Guaranteed Peer Reviewed Content

Funded by: ERC

Stock item: 107648

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Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

DOI: 10.11116/9789461661883

ISBN: 9789461661883

Publication date: December 17, 2015

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Number of pages: 252

Guaranteed Peer Reviewed Content

Funded by: ERC

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Exploring experimental attitudes in music
Experimental Affinities in Music brings together diverse artistic, musicological, historical, and philosophical essays, enhancing a broad discourse on artistic experimentation, and exploring various experimental attitudes in music composed between the thirteenth and twentieth centuries.

The golden thread running through the different chapters is the quest for inherently experimental musical practices, a quest pursued from interrogating, descriptive, or challenging perspectives, and always in relation to concrete music examples.

Experimental is taken as an adventurous compositional, interpretive, or performative attitude that can cut across different ages and styles. Affinitiessuggest connectors and connections, convergences, contiguities, and adjacencies that are found in and through a diversity of approaches and topics.

The texts share a common genesis: the lectures of the International Orpheus Academies for Music and Theory convened by Luk Vaes (2011) and Paulo de Assis (2012, 2013). The affinities found in this volume include essays by Lydia Goehr, Felix Diergarten, Mark Lindley, Martin Kirnbauer, Edward Wickham, Lawrence Kramer, Hermann Danuser, and Thomas Christensen, as well as interviews with pianist Leon Fleisher, with pianist-composer Frederic Rzewski, and with composer Helmut Lachenmann.

Ebook available in Open Access.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Contributors
Paulo de Assis (Orpheus Institute, Ghent), Thomas Christensen (University of Chicago), Hermann Danuser (Humboldt University), Felix Diergarten (Schola Cantorum Basiliensis), Leon Fleisher (pianist), Lydia Goehr (Columbia University), Martin Kirnbauer (University of Basel), Lawrence Kramer (Fordham University), Helmut Lachenmann (composer), Mark Lindley (University of Hyderabad), Frederic Rzewski (pianist-composer), Luk Vaes (Orpheus Institute, Ghent), Edward Wickham (St Catharine’s College, Cambridge)

Introduction Paulo de Assis Chapter One Explosive Experiments and the Fragility of the Experimental Lydia Goehr Chapter Two Omnis ars ex experimentis dependeat: “Experiments” in Fourteenth-Century Musical Thought Felix Diergarten Chapter Three “Vieltönigkeit” instead of Microtonality: The Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music Martin Kirnbauer Chapter Four Inscriptions: An Interview with Helmut Lachenmann Chapter Five Nuance and Innovation in Part I of the “48” Mark Lindley Chapter Six Tales from Babel: Musical Adventures in the Science of Hearing Edward Wickham
Chapter Seven From Clockwork to Pulsation: Music and Artificial Life in the Eighteenth Century Lawrence Kramer
Chapter Eight The Inner Ear: An Interview with Leon Fleisher
Chapter Nine Execution—Interpretation—Performance: The History of a Terminological Conflict Hermann Danuser Chapter Ten Monumental Theory Thomas Christensen Chapter Eleven Testing Respect(fully): An Interview with Frederic Rzewski Luk Vaes Appendix Notes on Contributors Index

Paulo de Assis

Paulo de Assis is artist researcher (pianist, composer, music philosopher) and research fellow at the Orpheus Institute.

Lydia Goehr

Felix Diergarten

Martin Kirnbauer

Mark Lindley

Edward Wickham

Lawrence Kramer

Hermann Danuser

Thomas Christensen

Thomas Christensen is Professor of Music and the Humanities at the University of Chicago.

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