Artistic Experimentation in Music
An Anthology
Edited by Darla Crispin and Bob Gilmore
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 experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM).
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 experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM).
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
Towards an Ethical-Political Role for Artistic Research
Marcel 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-led Perspectives
Catherine Laws
Order Matters: A Thought on How to Practise
Mieko Kanno
Association-Based Experimentation as an Artistic Research Method
Valentin 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
Cageian Interpenetration and the Nature–Artifice Distinction
Steve 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: Music-Research with Jazz Standards in the Professional Context
Steve 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
Interview with Agostino Di Scipio
Hans Roels
Kairos in the Flow of Musical Intuition
Kathleen Coessens and Stefan Östersjö
Habitus and the Resistance of Culture
Kathleen Coessens and Stefan Östersjö
Repetition, Resonance, and Discernment
Kathleen Coessens, Henrik Frisk and Stefan Östersjö
Intuition, Hexis, and Resistance in Musical Experimentation
Kathleen Coessens and Stefan Östersjö
Appendix 1: Glossary
Anna Scott
Appendix 2: Contents of CD
Appendix 3: Online materials
Appendix 4: Resources for Artistic Experimentation
Index
Notes on Contributors
Format: Edited volume - paperback
Size: 285 × 190 mm
416 pages
ISBN: 9789462700130
Publication: October 07, 2014
Series: Orpheus Institute Series
Languages: English
Stock item number: 92127
Bob Gilmore is a Research Fellow at the Orpheus Institute (Belgium) and editor of Tempo: A Quarterly Review of New Music (UK).
Darla Crispin is a pianist and musicologist tracing perspectives from artistic research. Formerly an ORCiM Research Fellow, she is currently Associate Professor of Musicology at the Norwegian Academy of Music (NMH), Oslo.