Experimental Affinities in Music

Experimental Affinities in Music

By Paulo de Assis
Book Description

Experimental Affinities in Music brings together diverse artistic, musicological, historical, and philosophical essays, enhancing a broad discourse on artistic experimentation, and exploring various experimental attitudes in music composed between the thirteenth and twentieth centuries.The golden thread running through the different chapters is the quest for inherently experimental musical practices, a quest pursued from interrogating, descriptive, or challenging perspectives, and always in relation to concrete music examples.Experimental is taken as an adventurous compositional, interpretive, or performative attitude that can cut across different ages and styles. Affinities suggest connectors and connections, convergences, contiguities, and adjacencies that are found in and through a diversity of approaches and topics. The texts share a common genesis: the lectures of the International Orpheus Academies for Music and Theory convened by Luk Vaes (2011) and Paulo de Assis (2012, 2013). The affinities found in this volume include essays by Lydia Goehr, Felix Diergarten, Mark Lindley, Martin Kirnbauer, Edward Wickham, Lawrence Kramer, Hermann Danuser, and Thomas Christensen, as well as interviews with pianist Leon Fleisher, with pianist-composer Frederic Rzewski, and with composer Helmut Lachenmann.(publishing partner ‘Orpheus Institute’)

Table of Contents
  • Introduction
    • Paulo de Assis
  • Chapter One
    • Explosive Experiments and the Fragility of the Experimental
    • Lydia Goehr*
  • Chapter Two
    • Omnis ars ex experimentis dependeat
    • “Experiments” in Fourteenth-Century Musical Thought*
    • Felix Diergarten
  • Chapter Three
    • “Vieltönigkeit” instead of Microtonality
    • The Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music
    • Martin Kirnbauer
  • Chapter Four
    • Inscriptions
    • An Interview with Helmut Lachenmann
  • Chapter Five
    • Nuance and Innovation in Part I of the “48”
    • Mark Lindley
  • Chapter Six
    • Tales from Babel
    • Musical Adventures in the Science of Hearing
    • Edward Wickham
  • Chapter Seven
    • From Clockwork to Pulsation
    • Music and Artificial Life in the Eighteenth Century
    • Lawrence Kramer
  • Chapter Eight
    • The Inner Ear
    • An Interview with Leon Fleisher
  • Chapter Nine
    • Execution—Interpretation—Performance:
    • The History of a Terminological Conflict*
    • Hermann Danuser
  • Chapter Ten
    • Monumental Theory*
    • Thomas Christensen
  • Chapter Eleven
    • Testing Respect(fully)
  • Appendix
  • Notes on Contributors
  • Index
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