Music

New series

Orpheus Institute Series

In collaboration with the Orpheus Institute www.orpheusinstituut.be The Orpheus Institute Series encompasses monographs by fellows and associates of the Orpheus Institute, compilations of lectures and texts from seminars and study days, and edited volumes on topics arising from work at the Institute. Research can be presented in digital media as well as printed texts. As a whole, the series is meant to enhance and advance discourse in the field of artistic research in music and to generate future work in this emerging and vital area of study. The Orpheus Institute Series combines the previous series ‘Collected Writings of the Orpheus Institute’ and the subseries ‘Orpheus Research Centre in Music Series (ORCiM)’.

About the Orpheus Institute Throughout the Institute’s various activities there is a clear focus on the development of a new research discipline in the arts: one that addresses questions and topics that are at the heart of musical practice, building on the unique expertise and perspectives of musicians and constantly dialoguing with more established research disciplines.

Within this context, the Orpheus Institute launched an international Research Centre in 2007. The Orpheus Research Centre in Music [ORCiM] is a place where musical artists can fruitfully conduct individual and collaborative research on issues that are of concern to all involved in artistic practice. The development of a discipline-specific discourse in the field of artistic research in music is the core mission of ORCiM.

Sound and Score

Essays on Sound, Score and Notation

Paulo de Assis, Bill Brooks, Kathleen Coessens (eds)

Exploring the complex and intimate relations between sound, score and notation Sound and Score brings together music expertise from prominent international researchers and performers exploring the intimate relations between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Considering ‘notation’ as the totality of words, signs, and symbols encountered on the road to an accurate and effective performance of music, this book embraces different styles and periods in a comprehensive understanding of the complex relations between invisible sound and mute notation, between aural perception and visual representation, and between the concreteness of sound and the iconic essence of notation. Three main perspectives structure the analysis: a conceptual approach that offers contributions from different fields of enquiry (history, musicology, semiotics), a practical one that takes the skilled body as its point of departure (written by performers), and finally an experimental perspective that challenges state-of-the-art practices, including transdisciplinary approaches in the crossroads to visual arts and dance.

Contributors Virginia Anderson (Experimental Music Catalogue), Paulo de Assis (Orpheus Institute Ghent), Sandeep Bhagwati (Concordia University Montréal), Robin T. Bier (University of York), Maria Calissendorff (Royal College of Music, Stockholm), Miguelangel Clerc (Leiden University), Kathleen Coessens (Vrije Universiteit Brussel and Orpheus Institute Ghent), Jeremy Cox (European Association of Conservatoires – AEC), Darla Crispin (Orpheus Institute Ghent), Anne Douglas (Robert Gordon University), Gregorio García Karman (University of Huddersfield), Yolande Harris (Leiden University), Susanne Jaresand (Royal College of Music, Stockholm), Tanja Orning (Norwegian Academy of Music, Oslo), Paul Roberts (Guildhall School of Music and Drama, London), Anna Scott (Leiden University), Andreas Georg Stascheit (Institute for Advanced Study in the Humanities, Essen/Dortmund University) paulo de assis is Senior Researcher at Orpheus Institute Ghent. bill brooks is Senior Researcher and Editorial Board Officer at the Orpheus Institute Ghent and Professor at the University of York. kathleen coessens is Senior Researcher at Orpheus Institute Ghent and Professor and Postdoctoral Researcher at Vrije Universiteit Brussel.

n € 39,50 / £35.00

n isbn 978 90 5867 976 5 n November 2013 n Paperback, 19 x 28,5 cm n 224 p. n 56 b&w figures, 2 tables n English n Orpheus Institute Series

michael schwab teaches at the Royal College of Art in London and the Zurich University of the Arts. He is Researcher at Orpheus Institute Ghent as well as the founding Editor-in-Chief of the Journal for Artistic Research (jar).

n € 39,50 / £35.00

n isbn 978 90 5867 973 4 n October 2013 n Paperback, 19 x 28,5 cm n 235 p. n English n Orpheus Institute Series

Experimental Systems

Future Knowledge in Artistic Research

Michael Schwab (ed.)

The experimental approach of science applied to artistic research We don’t know what we don’t know. This makes it difficult to imagine research that will produce new knowledge. In the sciences, the experimental approach has proved its worth in generating what subsequently requires understanding. Can the field of artistic research be inspired by recent thinking about the history and workings of science? How can artists engage with experimentation to extend artistic values and deliver future knowledge? In this book fourteen contemporary artists, musicians, and theorists engage with Hans-Jörg Rheinberger’s theory of experimental systems to determine how experimentation can be put to work in the arts. An interview with Rheinberger himself probes research as a potentially shared space between the otherwise different activities of art and science.

Previously published by the Orpheus Institute

n Dramma Giocoso: Four Contemporary Perspectives on the Mozart/Da Ponte Operas Sergio Durante, Stefan Rohringer, Julian Rushton, James Webster. Edited by Darla Crispin € 32,50 / £29.00, isbn 978 90 5867 845 4, paperback, Collected Writings of the Orpheus Institute 10 – also available as eBook (eISBN 978 94 6166 058 9) n Partimento and Continuo Playing in Theory and in Practice Robert Gjerdingen, Giorgio Sanguinetti, Rudolf Lutz, Thomas Christensen. Edited by Dirk Moelants € 29,95 / £27.00, isbn 978 90 5867 828 7, paperback, Collected Writings of the Orpheus Institute 9

Composing under the Skin

The Music-making Body at the Composer’s Desk

Paul Craenen

A revealing study of the physical presence of the musician in musical performance Fingers slipping over guitar strings, the tap of a bow against the body of a cello, a pianist humming along to the music: contemporary composers often work with parasitic, non-conventional sounds such as these. Are they to be perceived as musical elements or do they shift attention to the physical effort of music-making, contact between a body and an instrument? Composer Paul Craenen explores ways in which the musician’s body is revealed in musical performance. He leads us from Cage, Lachenmann, Kagel and their contemporaries to a discussion of how today’s generation of young composers is writing a body paradigm into composition itself. Micro-temporal physical gestures and instrumental timbre provide the key to unveiling the physical presence of both a musician and a ‘composing body’. The author’s concept of ‘intercorporeality’, along with the idea of an alternating linear and non-linear relationship of the composing body to time, casts new light on the relationship between musicians, composers, and music consumers.

Previously published by the Orpheus Institute

n The Practice of Practising Alessandro Cervino, Maria Lettberg, Tânia Lisboa. Edited by Catherine Laws € 25,00 / £22.00, isbn 978 90 5867 848 5, paperback, Orpheus Research Centre in Music Series (ORCiM) 4 n The Artistic Turn: a Manifesto Kathleen Coessens, Anne Douglas, Darla Crispin € 29,50 / £26.00, isbn 978 94 9038 900 0, paperback, Orpheus Research Centre in Music Series (ORCiM) 3 paul craenen obtained a PhD in the arts at Leiden University in 2011. He is director of Musica, Impulse Centre for Music.

n € 39,50 / £35.00

n isbn 978 90 5867 974 1 n November 2013 n Paperback, 19 x 28,5 cm n 260 p. n 20 black & white images n English n Orpheus Institute Series