Experimental Encounters in Music and Beyond
Edited by Kathleen Coessens, introduction by Kathleen Coessens, and contributions by Richard Barrett, Sebastian Berweck, Frederik Croene, Chaya Czernowin, Anne Douglas, Bob Gilmore, Valentin Gloor, David Gorton, David Horne, Efva Lilja, Svetlana Maras, Melinda Maxwell, Christopher Redgate, Jan C. Schacher, Reto Stadelmann, Steve Tromans, and Penelope Turner
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)
PART ONE: CONTRASTING FACES
Down With the Experiment! Long Live the Process! or, Dance Doesn’t Exist
The Art of Risk Taking: Experimentation, Invention, and Discovery
PART TWO: CHALLENGING MATERIAL SPACES
Thingification of Compositional Process: The Emergence and Autonomy of Extramusical Objects in Western Art Music
Roll Over Czerny
Austerity Measures and Rich Rewards
Cooperation and Collaboration between Interpreter and Composer in Electroacoustic Music
Trans-form: Sketches, Experiments, and Concepts in Artistic Creation
Rational Spaces: The String Quartets of Ben Johnston as Experimental Process
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
PART FOUR: NEGOTIATING EXPERIMENTAL(LY) SPACES AND FACES
From Experimentation to Construction
Exper-iment, Exper-ience, Exper-tise: Practice-as-Research in Jazz Performance
Improvisation as Experimentation in Everyday Life and Beyond
Composition as Improvisation/Improvisation as Composition
The Kunstorchester Kwaggawerk Project: An Original Cultural Education Programme
An Afterthought to Experimental Encounters
Format: Edited volume - paperback
Size: 285 × 190 × 15 mm
212 pages
ISBN: 9789462701106
Publication: December 04, 2017
Series: Orpheus Institute Series
Languages: English
Stock item number: 119332
Bob Gilmore is a Research Fellow at the Orpheus Institute (Belgium) and editor of Tempo: A Quarterly Review of New Music (UK).
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.
Kathleen Coessens is director of the Koninklijk Conservatorium Brussel, professor at the Vrije Universiteit Brussel, and associate researcher at the Orpheus Institute, Ghent.
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