Buch, Englisch, 260 Seiten, Format (B × H): 277 mm x 208 mm, Gewicht: 726 g
Reihe: Orpheus Institute Series
Buch, Englisch, 260 Seiten, Format (B × H): 277 mm x 208 mm, Gewicht: 726 g
Reihe: Orpheus Institute Series
ISBN: 978-94-6270-138-0
Verlag: LEUVEN UNIV PR
Beyond interpretation: a proposal for experimental
performance practices
Logic of
Experimentation offers several innovative and ground-breaking perspectives on music
performance, music ontology, research methodologies and ethics of performance.
It proposes new modes of thinking and exposing past musical works to
contemporary audiences, arguing for a new kind of performer, emancipated from
authoritative texts and traditions, whose creativity is propelled by intensive
research and inventive imagination. Moving beyond the work-concept, Logic of
Experimentation presents a new image of musical works, based upon the
notions of strata, assemblage and diagram, advancing innovative practice-based
methodologies that integrate archival and musicological research into the
creative process leading to a performance. Beyond representational modes of
performance—be it mainstream or historically informed performance practices—Logic
of Experimentation creates an ontological, methodological and ethical space
for experimental performance practices,
arguing for a new mode of performance. Written in an experimental style, its
eight chapters appropriate music performance concepts from post-structural
philosophy, psychoanalysis, science and technology studies, epistemology and
semiotics, displaying how transdisciplinarity is central to artistic research.
An indispensable contribution to artistic research in music, Logic of
Experimentation is compelling
reading for music performers, composers,
musicologists, philosophers and artist researchers alike.
Ebook available in Open Access.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
Preface: A Transdisciplinary Conjuncture
Introduction: Experimentation versus
Interpretation
Part
1. Assemblage Theory for Music
Chapter 1: Virtual Works—Actual
Things
Rasch —
The limits of music philosophy and the role of artistic
research — Music ontologies: some problems —
Beyond
transcendence: approaching a Deleuzian
ontology — Virtual
works, actual things: towards a new image of
musical work —
Strata — Rasch25:. vers la nuit
Chapter 2: Assemblage, Strata, Diagram
Musical works as assemblages — Agencement,
logic of assemblage,
assemblage theory — Intermezzo: a note on
translation —
From structure to assemblage — Strata —
Diagram — Logic of
assemblage
Part
2: Experimental Systems in Music
Chapter 3: Experimental Systems
and Artistic Research
An epistemology for artistic research? — A
methodology for
artistic research — Hans-Jörg Rheinberger’s
experimental systems
— Thought collective and ensembles of
experimental systems:
MusicExperiment21 — Series of experiments
and modules of
research
Chapter 4: Epistemic Complexity in
Music Performance
Complexity and epistemic complexity —
Epistemic complexity
in biology — Epistemic complexity in
technology — Epistemic
complexity in music — Experimentation in
music performance:
how to make the future?
Part
3. Beyond Interpretation: Bodies-in-Action
Chapter 5: Transduction and the
Body as a Transducer
Transduction in music performance: relaying
f lows of intensities;
— Gilbert Simondon’s various definitions of
transduction —
Discharge (potentiality); — Passage (time
and temporality);
— Energy (thermodynamics): potential,
scales, entropy
— Information theory: structural germs and
singularities
(structuration) — Haecceity: from haecceitas
(Duns Scotus) to
eccéité (Simondon) to heccéité (Deleuze and
Guattari) to microhaecceity
— Topology: in-formation — Corporeality:
somatic
transduction — Permanent transduction: being-in-the-world and
fluctuatio animi; 11. Conclusion
Chapter 6: Rasch26: The Somatheme
The somatheme — Roland Barthes at the piano:
musica practica —
The impact of Julia Kristeva: phenotext and
genotext —
New musical concepts: geno-song, pheno-song,
somatheme —
Intermezzo: fourteen somathemes — The impact
of Jacques
Lacan: signifier and jouissance — Lacan’s desire — Situating the
somatheme within Lacan’s graphs of desire —
Conclusion: artistic
research and transdisciplinarity
Part
4. A New Ethics of Performance
Chapter 7: The Emancipated
Performer:
Musical Renderings and Power Relations
Music performance and power relations — The
dominant image
of work and the problem of interpretation — The
tacit authorities:
Deleuze’s “Postscript on the Societies of
Control” — Nietzsche’s
three modes of relation to history:
monumental, antiquarian,
critical — A new image of work — The
emancipated performer
Chapter 8. at the
borders of time that surround our presence.
What is the contemporary? — Agamben’s
contemporary: Barthes
reading Nietzsche — Nietzsche’s untimely: lost in
translation —
. at the border of time that surrounds
our presence. — Artistic
research as the carrier of the contemporary
Appendix 1: Beyond Urtext: A Dynamic
Conception of Musical Editing
On notation and time — The urtext era —
Urtext editions: an
epistemological obstacle — Critical editing
of music and different
types of editions — Music editing and
performance practice: a
dynamic conception
Appendix 2: The Conditions of
Creation and the Haecceity of Musical Material: Philosophical-Aesthetic
Convergences between Helmut Lachenmann and Gilles Deleuze
Helmut Lachenmann and Gilles Deleuze: an
unconnected
connection — Helmut Lachenmann: toward an aestheticostructural
methodology — Helmut Lachenmann’s three “theses”
on composing — Gilles Deleuze’s diagnostic function of art,
capture
of forces,
and body without organs: first convergences with Helmut
Lachenmann — Helmut Lachenmann’s four
conditions of the
musical material — Gilles Deleuze’s opinion, corporeity, fold,
and
latitude:
further convergences with Helmut Lachenmann — The
conditions of creation and the haecceity of
musical material: a
philosophical-aesthetic
Erewhon
Acknowledgements
Index
