Sound Work

Composition as Critical Technical Practice

Jonathan Impett (Editor),

Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

ISBN: 9789462702585

Publication date: December 17, 2021

€62.50 (including 6% VAT)

Buy Now

Number of pages: 376

Size: 285 x 195 x mm

Number of illustrations: 54

Illustrations and other content description:
b/w & colour section Guaranteed Peer Reviewed Content

Stock item: 145789

Standard delivery time for print books:

For Belgium: 5 to 8 working days

For EU: 2 to 3 weeks

For other countries: 4 to 5 weeks

Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

DOI: 10.11116/9789461663665

ISBN: 9789461663665

Publication date: December 17, 2021

€47.00 (including 6% VAT)

Buy Now

Number of pages: 376

Number of illustrations: 54

Illustrations and other content description:
b/w & colour section Guaranteed Peer Reviewed Content

SHARE

The potential for critical technical practice in the 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).

Introduction: Music-Making and Storytelling
Jonathan Impett
Too Cool to Boogie: Craft, Culture, and Critique in Computing Alan F. Blackwell
Illusions of Form David Rosenboom
What to Ware? A Guide to Today’s Technological Wardrobe Nicolas Collins
Toward a Critical Musical Practice Ann Warde
The Composer’s Domain: Method and Material Nicholas Brown
Dissociation and Interference in Composers’ Stories about Music: The Renewal of Musical Discourse Jonathan Impett
Plates
The Impossibility of Material Foundations Scott McLaughlin
Thinking Liveness in Performance with Live Electronics: The Need for an Eco-systemic Notion of Agency Agostino Di Scipio
Experiment and Experience: Compositional Practice as Critique Lula Romero
Designing the Threnoscope or, How I Wrote One of My Pieces Thor Magnusson
A Few Reflections about Compositional Practice through a Personal Narrative Daniela Fantechi
Temporal Poetics as a Critical Technical Practice Karim Haddad
Collaborative Creation in Electroacoustic Music: Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia Laura Zattra
Parlour Sounds: A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology Patricia Alessandrini and Julie Zhu
Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality Ambrose Field
Designing Audience–Work Relationships Marko Ciciliani
Online Materials Notes on Contributors Index

Introduction: Music-Making and Storytelling Jonathan Impett
Too Cool to Boogie: Craft, Culture, and Critique in Computing Alan F. Blackwell
Illusions of Form David Rosenboom
What to Ware? A Guide to Today’s Technological Wardrobe Nicolas Collins
Toward a Critical Musical Practice Ann Warde
The Composer’s Domain: Method and Material Nicholas Brown
Dissociation and Interference in Composers’ Stories about Music: The Renewal of Musical Discourse Jonathan Impett
Plates
The Impossibility of Material Foundations Scott McLaughlin
Thinking Liveness in Performance with Live Electronics: The Need for an Eco-systemic Notion of Agency Agostino Di Scipio
Experiment and Experience: Compositional Practice as Critique Lula Romero
Designing the Threnoscope or, How I Wrote One of My Pieces Thor Magnusson
A Few Reflections about Compositional Practice through a Personal Narrative Daniela Fantechi
Temporal Poetics as a Critical Technical Practice Karim Haddad
Collaborative Creation in Electroacoustic Music: Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia Laura Zattra
Parlour Sounds: A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology Patricia Alessandrini and Julie Zhu
Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality Ambrose Field
Designing Audience–Work Relationships Marko Ciciliani
Online Materials Notes on Contributors Index

Jonathan Impett

Jonathan Impett is director of research at the Orpheus Institute and associate professor at Middlesex University London.

Related titles