Experimental Encounters in Music and Beyond

Kathleen Coessens (Editor),

Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

ISBN: 9789462701106

Publication date: December 4, 2017

€45.00 (including 6% VAT)

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Number of pages: 212

Size: 285 x 190 x 15 mm

Number of illustrations: 46

Guaranteed Peer Reviewed Content

Stock item: 119332

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Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

DOI: 10.11116/9789461662316

ISBN: 9789461662316

Publication date: February 28, 2018

€34.00 (including 6% VAT)

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Number of pages: 212

Number of illustrations: 46

Guaranteed Peer Reviewed Content

Stock item: 119332

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Multidisciplinary analysis of experimentalism in music and the wider arts today
Experimental Encounters in Music and Beyond opens a necessary dialogue on experimental practices in the arts and negotiates their place in contemporary society. Going beyond the music-historical usage of the term “experimental”, this book reimagines experimentation as an open working definition encompassing multiple forms of artistic attitudes and processes. The texts, images, and sounds offer multiple traces, faces, and spaces, revealing what experimentalism in music and the wider arts entails today. With perspectives from a range of disciplines—from choreography through composition to philosophy and beyond—the different experiences and artistic projects documented and discussed explore the complexity of experimentation in a way that is all the richer for being never-ending.

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Contributors

Richard Barrett (Institute of Sonology, The Hague), Sebastian Berweck (pianist and performer), Kathleen Coessens (Orpheus Institute, Ghent), Frederik Croene (pianist and composer, Belgium), Chaya Czernowin (Harvard University, Cambridge), Anne Douglas (Grays School of Art, Robert Gordon University, Aberdeen), Bob Gilmore † (Orpheus Institute, Ghent), Valentin Gloor (Orpheus Institute, Ghent), David Gorton (Royal Academy of Music, University of London), David Horne (Royal Northern College of Music, Manchester), Efva Lilja (Dansehallerne, Copenhagen), Svetlana Maraš (independent music professional, Radio Belgrade, Electronic Studio), Melinda Maxwell (Royal Northern College of Music, Manchester), Christopher Redgate (Royal Academy of Music, University of London), Jan C. Schacher (Royal Conservatoire, Artesis Plantijn University College, Antwerp, and Zurich University of the Arts), Reto Stadelmann (composer and musician, Germany), Steve Tromans (Middlesex University, UK), Penelope Turner (singer, musician, and performer, UK and Belgium)

Faces, Spaces, and Traces: A Prelude to Experimental Encounters Kathleen Coessens
PART ONE: CONTRASTING FACES Kathleen Coessens
Down With the Experiment! Long Live the Process! or, Dance Doesn’t Exist Efva Lilja
The Art of Risk Taking: Experimentation, Invention, and Discovery Chaya Czernowin
PART TWO: CHALLENGING MATERIAL SPACES Kathleen Coessens
Thingification of Compositional Process: The Emergence and Autonomy of Extramusical Objects in Western Art Music Svetlana Maraš
Roll Over Czerny Frederik Croene
Austerity Measures and Rich Rewards David Gorton and Christopher Redgate
Cooperation and Collaboration between Interpreter and Composer in Electroacoustic Music Sebastian Berweck
Trans-form: Sketches, Experiments, and Concepts in Artistic Creation Jan C. Schacher
PART THREE: EXPERIMENTAL DIALOGUES WITH TRACES Kathleen Coessens
Rational Spaces: The String Quartets of Ben Johnston as Experimental Process Bob Gilmore
The Need for Artistic Experimentation When Preparing Organum Duplum for Performance Léonin and Pérotin and Twelfth- and Thirteenth-Century Polyphony from L’Ecole de Notre Dame Penelope Turner
“Association”: A Way of Artistic Experimentation That Can Expand Interpretation Possibilities Valentin Gloor
PART FOUR: NEGOTIATING EXPERIMENTAL(LY) SPACES AND FACES Kathleen Coessens
From Experimentation to Construction Richard Barrett Exper-iment, Exper-ience, Exper-tise: Practice-as-Research in Jazz Performance Steve Tromans
Improvisation as Experimentation in Everyday Life and Beyond Anne Douglas and Kathleen Coessens
Composition as Improvisation/Improvisation as Composition David Horne and Melinda Maxwell
The Kunstorchester Kwaggawerk Project: An Original Cultural Education Programme Reto Stadelmann
An Afterthought to Experimental Encounters Kathleen Coessens

Kathleen Coessens

Kathleen Coessens is director of the Koninklijk Conservatorium Brussel, professor at the Vrije Universiteit Brussel, and associate researcher at the Orpheus Institute, Ghent.

Richard Barrett

Sebastian Berweck

Frederik Croene

Chaya Czernowin

Anne Douglas

Anne Douglas is a Professor Emerita, Gray’s School of Art, Robert Gordon University, Scotland, who explores the changing place of the artist in public life. Her research has increasingly focused on art and the environmental crisis from a practice-led perspective. She co-produced the Harrisons’ work ‘On the Deep Wealth of this Nation: Scotland’ (2017) in collaboration with Newton Harrison and the Centre for the Study of the Force Majeure, University of California Santa Cruz.

Bob Gilmore

Bob Gilmore is a Research Fellow at the Orpheus Institute (Belgium) and editor of Tempo: A Quarterly Review of New Music (UK).

Valentin Gloor

David Gorton

David Gorton is a composer, senior postgraduate tutor and associate head of research at the Royal Academy of Music, associate professor at the University of London, and associate researcher at the Orpheus Institute, Ghent.

David Horne

Efva Lilja

Svetlana Maras

Melinda Maxwell

Christopher Redgate

Jan C. Schacher

Reto Stadelmann

Steve Tromans

Penelope Turner

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