Buch, Englisch, 252 Seiten, Format (B × H): 191 mm x 279 mm, Gewicht: 726 g
Reihe: Orpheus Institute Series
Buch, Englisch, 252 Seiten, Format (B × H): 191 mm x 279 mm, Gewicht: 726 g
Reihe: Orpheus Institute Series
ISBN: 978-94-6270-061-1
Verlag: Leuven University Press
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.
Ebook available in Open Access.
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)
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
IntroductionPaulo de Assis Chapter OneExplosive Experiments and the Fragility of the ExperimentalLydia Goehr Chapter TwoOmnis ars ex experimentis dependeat: “Experiments” in Fourteenth-Century Musical ThoughtFelix Diergarten Chapter Three“Vieltönigkeit” instead of Microtonality: The Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” MusicMartin Kirnbauer Chapter FourInscriptions: An Interview with Helmut Lachenmann Chapter FiveNuance and Innovation in Part I of the “48”Mark Lindley Chapter SixTales from Babel: Musical Adventures in the Science of HearingEdward Wickham
Chapter SevenFrom Clockwork to Pulsation: Music and Artificial Life in the Eighteenth CenturyLawrence Kramer
Chapter EightThe Inner Ear: An Interview with Leon Fleisher
Chapter NineExecution—Interpretation—Performance: The History of a Terminological ConflictHermann Danuser Chapter TenMonumental TheoryThomas Christensen Chapter ElevenTesting Respect(fully): An Interview with Frederic RzewskiLuk Vaes AppendixNotes on ContributorsIndex
