Introducing SONUS

Orpheus Instituut proudly launches SONUS, a new online platform designed to enrich the creation, communication and understanding of artistic research in music. SONUS offers an intuitive reading and listening environment where text, audio, video and interactive media are seamlessly woven together, without external links, QR codes or fragmented repositories.

While many publications still separate written analysis from audiovisual materials, SONUS recognises that artistic research often relies on non-textual forms of expression that are not supplementary, but essential. By giving sound and image the same status as the written word, the platform supports research practices in which musical fragments can be listened to and experienced rather than merely described.

SONUS is the hub for a new series of monographs, edited collections and other substantial works as well as shorter formats and representative outcomes from Orpheus events, conferences and research activities. All content is peer reviewed and fully open access, inviting a broad international audience, from students to practising researchers, to engage with emerging ideas in contemporary musical practice.

Whether you are looking to read, listen, publish or simply discover, SONUS offers a dynamic space to explore how artistic research can unfold across multiple media.

Publications already available

Imagining the Non-Present: Thought Experiments on Rich Temporality in Sound

Carlo Diaz, Mark Dyer, Pablo Galaz Salamanca, Bryn Harrison, Tim Ingold, Priya Satia, Jennifer Walshe, Caroline Wilkins, James Wood.

Imagination is part of the practice of nearly every musician. But does this faculty only aid in the preparation of music—practising, rehearsing, devising, composing—or is it more fundamental to the art form? By recasting temporality from a chronology of past, present, and future to a phenomenology of present and non-present, this publication seeks to elucidate the relationship between one’s situation within and curiosity beyond the present across a variety of musical practices. Through studies of sampling and archiving, variation and silence, history and utopia, forgery and counterfactuals, the contributors articulate in polyphony a chronologically conjoined identity for the not here, not now.

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Performing by the Book? Musical Negotiations between Text and Act

Bruno Forment, Jonathan Ayerst, Camilla Köhnken, Xiangning Lin

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