Experimental Affinities in Music

Edited by Paulo de Assis, introduction by Paulo de Assis, contributions by Lydia Goehr, Felix Diergarten, Martin Kirnbauer, Mark Lindley, Edward Wickham, Lawrence Kramer, Hermann Danuser, and Thomas Christensen, interviewee Helmut Lachenmann, Leon Fleisher, and Frederic Rzewski, and interviewer Luk Vaes

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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.

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

Format: Edited volume - paperback

Size: 285 × 190 mm

ISBN: 9789462700611

Publication: March 21, 2016

Series: Orpheus Institute Series

Languages: English

Stock item number: 107648

Paulo de Assis is a researcher affiliated with the Orpheus Institute of Ghent. He is an experimental performer, pianist and music philosopher, with transdisciplinary interests in composition, philosophy, psychoanalysis and epistemology.

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