Artistic Experimentation in Music

Darla Crispin is a pianist and musicologist tracing perspectives from artistic research. Formerly an ORCiM Research Fellow, she is currently Associate Professor of Musicology at the Norwegian Academy of Music (NMH), Oslo.Bob Gilmore is a Research Fellow at the Orpheus Institute (Belgium) and editor of Tempo: A Quarterly Review of New Music (UK).

• Introduction Darla Crispin and Bob GilmoreSection ITowards an Understanding of Experimentation in Artistic PracticeFive Maps of the Experimental World Bob Gilmore The Exposition of Practice as Research as Experimental Systems Michael Schwab Epistemic Complexity and Experimental Systems in Music Performance Paulo de Assis Experimental Art as Research Godfried-Willem Raes Tiny Moments of Experimentation: Kairos in the Liminal Space of Performance Kathleen Coessens The Web of Artistic Practice: A Background for Experimentation Kathleen Coessens Towards an Ethical-Political Role for Artistic Research Marcel Cobussen A New Path to Music: Experimental Exploration and Expression of an Aesthetic Universe Bart Vanhecke From Experimentation to CONSTRUCTION Richard Barrett Artistic Research and Experimental Systems: The Rheinberger Questionnaire and Study Day - A Report Michael SchwabSection IIThe Role of the Body: Tacit and Creative Dimensions of Artistic ExperimentationEmbodiment and Gesture in Performance: Practice-led Perspectives Catherine Laws Order Matters: A Thought on How to Practise Mieko Kanno Association-Based Experimentation as an Artistic Research Method Valentin Gloor Association and Selection: Toward a New Flexibility in the Form and Content of the Liederabend Valentin Gloor Il palpitar del core: The Heart-Beat of the “First Opera” Andrew Lawrence-King Techno-Intuition: Experiments with Sound in the Environment Yolande HarrisSection IIIExperimenting with Materials in the Processes of Music-Makingwhat if? Larry Polansky Historical Precedents for Artistic Research in Music: The Case of William Butler Yeats William Brooks Cageian Interpenetration and the Nature–Artifice Distinction Steve Tromans Revisiting Luigi Nono’s Suffered, Serene Waves Paulo de Assis On Kagel’s Experimental Sound Producers: An Illustrated Interview with a Historical Performer Luk Vaes Composing as a Way of Doing Philosophy Nicholas G. Brown Cycles of Experimentation and the Creative Process of Music Composition Hans Roels Changing Sounds, Changing Meanings: How Artistic Experimentation Opens Up the Field of Brahms Performance Practice Anna Scott Experiments in Time: Music-Research with Jazz Standards in the Professional Context Steve Tromans Ecosonics: Music and Birdsong, Ends and Beginnings Stephen PrestonSection IVSound and Space: Environments and InteractionsSpeaking and Singing in Different Rooms: Conceptuality and Variation in Alvin Lucier’s I Am Sitting in a Room Paul Craenen Experiment in Practice Catherine Laws The Virtual Haydn: An Experiment in Recording, Performing, and Publishing Tom Beghin On Life Is Too Precious: Blending Musical and Research Goals through Experimentation Juan Parra Cancino Interview with Agostino Di Scipio Hans Roels Kairos in the Flow of Musical Intuition Kathleen Coessens and Stefan Östersjö Habitus and the Resistance of Culture Kathleen Coessens and Stefan Östersjö Repetition, Resonance, and Discernment Kathleen Coessens, Henrik Frisk and Stefan Östersjö Intuition, Hexis, and Resistance in Musical Experimentation Kathleen Coessens and Stefan ÖstersjöAppendix 1: Glossary Anna Scott Appendix 2: Contents of CD Appendix 3: Online materials Appendix 4: Resources for Artistic Experimentation Index Notes on Contributors