Orpheus Institute Sound work

composition as critical technical practice

The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and...

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Engels | 376 pagina's (PDF, 23 MB) | Leuven University Press, Leuven | 2021

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Orpheus Institute Experience music experiment

pragmatism and artistic research

"Truth happens to an idea." So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of "doing and undergoing." But what do these ideas have to do with music, or with research conducted in and through music-that is, with "artistic research"? In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses...

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Engels | PDF, 15 MB | Leuven University Press, Leuven | 2021

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Orpheus Institute Machinic assemblages of desire

Deleuze and Artistic Research 3

The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, "assemblage" is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages...

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Engels | PDF, 27 MB | Leuven University Press, Leuven | 2021

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Orpheus Institute Performance, subjectivity, and experimentation

Music reflects subjectivity and identity: that idea is now deeply ingrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of subjectivity "in" music - how music expresses or represents "an" individual or "a" group. However, a sense of selfhood is also formed and continually reformed through musical practices, not least performance. How does this take place? How might the work of practitioners reveal aspects of this...

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Engels | PDF, 4,2 MB | Leuven University Press, Leuven | 2020

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Orpheus Institute Voices, bodies, practices

performing musical subjectivities

Identity and subjectivity in musical performances. Who is the "I" that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice...

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Engels | PDF, 31 MB | Leuven University Press, Leuven | 2019

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Orpheus Institute Sensorial aesthetics in music practices

The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics-the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of...

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Engels | PDF, 24 MB | Leuven University Press, Leuven | 2019

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Orpheus Institute Artistic research in music: discipline and resistance

artists and researchers at the Orpheus Institute

The Orpheus Institute celebrates 20 years of artistic research in music. Artistic research in music is now at a generational stage of development. How should it deal with its own maturing? From a kaleidoscope of individual pursuits, ethos and methodologies have emerged to encompass more distributed approaches. This transformation has taken place in parallel with changes in the dynamics and structures of culture, its institutions and constituencies. Artistic research maintains a productive dialectic...

Non-fictie

Engels | 316 pagina's (PDF, 5 MB) | Leuven University Press, Leuven | 2018

E-book

Orpheus Institute The dark precursor

Deleuze and artistic research

Deleuze's and Guattari's philosophy in the field of artistic research Gilles Deleuze's intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze's subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze's concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama...

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Engels | 572 pagina's (PDF, 10 MB) | Leuven University Press, Leuven | 2018

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Orpheus Institute Experimental encounters in music and beyond

Multidisciplinary analysis of experimentalism in music and the wider arts today Experimental Encounters in Music and Beyond opens a necessary dialogue on experimental practices in the arts and negotiates their place in contemporary society. Going beyond the music-historical usage of the term "experimental", this book reimagines experimentation as an open working definition encompassing multiple forms of artistic attitudes and processes. The texts, images, and sounds offer multiple traces, faces,...

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Engels | 212 pagina's (PDF, 3,4 MB) | Leuven University Press, Leuven | 2018

E-book

Orpheus Institute Artistic experimentation in music

an anthology

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...

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Engels | 416 pagina's (PDF, 5 MB) | Leuven University Press, Leuven | 2017

E-book

Orpheus Institute Ohne Worte

vocality and instrumentality in 19th-century music

The musical thought and practice of canonical composers. What can music tell us-without words? Can it depict scenes, narrate stories, elucidate beliefs? And can it be an instrument through which we access the inner lives not only of musicians from the past but of ourselves, today? In Ohne Worte five scholars and performers probe these and related questions to illuminate both the experience and performance of nineteenth-century music. Drawing on a rich range of sources, they reveal the musical thought...

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Engels | 230 pagina's (PDF, 10 MB) | Universitaire Pers Leuven, Leuven | 2017

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Orpheus Institute Dramma giocoso

four contemporary perspectives on the Mozart/Da Ponte operas

The three Mozart/Da Ponte operas offer an inexhaustible wellspring for critical reflection, possessing a complexity and equivocation common to all great humane works. They have the potential to reflect and refract whatever locus of contemporaneity may be the starting point for enquiry. Thus, even postmodern and postmillennial concerns, far from seeming irrelevant to these operas, are instead given new perspectives by them, whilst the music and the dramatic situations have the multivalency to accept...

Non-fictie

Engels | 140 pagina's (PDF) | Leuven University Press, Leuven | 2012

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