Julian Rushton

James Webster

Darla Crispin

Sergio Durante

Stefan Rohringer

Post-Millennial Encounters with the Mozart/Da Ponte Operas

Dramma Giocoso

Bob Gilmore

Essential reading for anyone interested in artistic research applied to music This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus Research Centre in Music (ORCiM) in Ghent, Belgium. The book critically examines experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues. Contributors Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM)

An Anthology

Artistic Experimentation in Music

Kathleen Coessens

Dr. Anne Douglas

The Orpheus Institute has been providing postgraduate education for musicians since 1996 and introduced the first doctoral programme for music practitioners in Flanders (2004). Acting as an umbrella institution for Flanders, it is co-governed by the music and dramatic arts departments of all four Flemish Colleges, which are strongly involved in its operation. Throughout the Institutes various activities (workshops, master classes, seminars, interviews, and associated events) 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 that acts as a stable constituent within an ever growing field of enquiry. The Orpheus Research Centre in Music [ORCiM] is a place where musical artist 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. This Subseries of The Collected Writings of the Orpheus Institute, will explicitly 'zoom in' on studies that take artistic practice as their point of departure and deal with questions and challenges that arise from that practice. It is this kind of research, in all its variety, which the Orpheus Researhc Centre in Music promotes and which the Subseries is designed to present. The contributions within the Subseries extend the possibilities and understanding of musical practice and act as a springboard for future research in this young but fascinating area. The emergent field of artistic research remains controversial, and is accepted with varying degrees of enthusiasm in academic institutions. The challenges and opportunities presented by this discipline may be better understood by re-emphasising the centrality of the artist through a fresh paradigm-an 'artistic turn'. The aim is to create a field of meaning that may illuminate the most promising, though correspondingly problematic, aspects of artistic research; the essential ineffability of artistic creativity, and the consequent insufficiency of verbal and written accounts. The discourse articulated charts a constellation of ideas that outlines the new disciplines and points to its manifold and open-ended possibilities.

A Manifesto

The Artistic Turn

John Neubauer

"This is the seventh publication in the series "Collected Writings of the Orpheus Institute."" --Book Jacket.

Aspects of Music Theory and Aesthetics in the Age of Romanticism

New Paths

Darla Crispin

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