Ois Upcoming Publications Spring 2021

Upcoming publications - Spring 2021

News February 22, 2021

There are two upcoming publications in the Orpheus Institute Series, published by Leuven University Press, and one CD, published by Kairos, which is the result of docARTES student Marco Fusi's PhD research.

Fusi Scelsi

Giacinto Scelsi - Works for violin and for viola

Marco Fusi

CD, published by Kairos

The unique creative process of Giacinto Scelsi forces the musician to rediscuss and redefine their agency and artistic engagement while performing his music. Moving away from traditional roles and systems of communication, his improvisatory approach to composition and his disregard for written music encourages performers to develop new strategies for interpretation.

Marco Fusi's album Giacinto Scelsi - works for violin and for viola, published by acknowledged Viennese new music label Kairos, presents listeners with the results of a newly elaborated performance practice of these works, based on archival research, in-depth audio analysis, computer-generated animated scores and extensive exploration of instrumental improvisatory techniques. The liner notes accompanying the album offer detailed insights into the research process leading up to the recording.

This publication is the result of Marco Fusi's PhD Research at the Royal Conservatory Antwerp and the University of Antwerp, with the support of KCA's research cluster CREATIE and Orpheus Instituut, Ghent.

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Experience Music Experiment Square

Experience Music Experiment

Edited by William Brooks

Format: Edited volume - paperback and e-book
Size: 272 pages
ISBN: 9789462702790
Publication: June 30, 2021
Publisher: Leuven University Press

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Related event: Experience :: Music :: Experiment (13 - 14 February 2019)

Challenging perspectives on artistic research in and through experimental discourse

“Truth happens to an idea.” So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of “doing and undergoing.” But what do these ideas have to do with music, or with research conducted in and through music—that is, with “artistic research”? In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses of noteworthy practices; some view historical continuities through the lens of pragmatism and artistic experiment. The resulting collection yields new insights into what musicians do, how they experiment, and what they experience—insights that arise not from doctrine, but from diverse voices seeking common ground in and through experimental discourse: artistic research in and of itself.

Contributors: William Brooks (Orpheus Institute), Richard Shusterman (Florida Atlantic University), Thibault Galland (Université Libre de Bruxelles), Ivana Miladinović Prica (University of Arts in Belgrade), Caitlin Rowley (Bath Spa University), Nicholas Brown (Trinity College Dublin / Orpheus Institute), Winnie Huang (Orpheus Institute / Royal Conservatoire of Antwerp), Fiona Smyth and Victoria Tzotzkova (Independent Scholars), Marco Fusi (Royal Conservatoire of Antwerp), Clare Lesser (New York University Abu Dhabi), Garry Hagberg (Bard College), Ann Warde (Independent Scholar), Deniz Ertan (Independent Scholar), Ambrose Field (University of York)

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Sound Work Square

Sound Work: Composition as Critical Technical Practice

Edited by Jonathan Impett

Format: Edited volume - paperback and e-book
Size: 288 pages
ISBN: 9789462702585
Publication: July 09, 2021
Publisher: Leuven University Press

More info >

Related event: Sound Work (21 - 23 November 2016)

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), John Bowers (Newcastle University), Nicholas Brown (Trinity College Dublin), Nicolas Collins (School of the Art Institute of Chicago), Agostino di Scipio (Conservatorio de l’Aquila), Daniela Fantechi (Orpheus Institute, Ghent), Ambrose Field (University of York), Karim Haddad (IRCAM, Paris), Jonathan Impett (Orpheus Institute, Ghent), Scott McClaughlin (University of Leeds), Lula Romero (Kunstuniversität Graz), David Rosenboom (CalArts, Los Angeles), Ann M. Ward (Cornell University), Laura Zattra (IRCAM, Paris)

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).