Beyond interpretation: a proposal for experimentalperformance practicesLogic ofExperimentation offers several innovative and ground-breaking perspectives on musicperformance, music ontology, research methodologies and ethics of performance.It proposes new modes of thinking and exposing past musical works tocontemporary audiences, arguing for a new kind of performer, emancipated fromauthoritative texts and traditions, whose creativity is propelled by intensiveresearch and inventive imagination. Moving beyond the work-concept, Logic ofExperimentation presents a new image of musical works, based upon thenotions of strata, assemblage and diagram, advancing innovative practice-basedmethodologies that integrate archival and musicological research into thecreative process leading to a performance. Beyond representational modes ofperformance—be it mainstream or historically informed performance practices—Logicof Experimentation creates an ontological, methodological and ethical spacefor experimental performance practices,arguing for a new mode of performance. Written in an experimental style, itseight chapters appropriate music performance concepts from post-structuralphilosophy, psychoanalysis, science and technology studies, epistemology andsemiotics, displaying how transdisciplinarity is central to artistic research.An indispensable contribution to artistic research in music, Logic ofExperimentation is compellingreading for music performers, composers,musicologists, philosophers and artist researchers alike.

Beyondmusical works: new perspectives on music ontology and performanceWhat are musical works? Howare they constructed in our minds? Which material things allow us to speakabout them in the first place? Does a specific way of conceiving musical workslimit their performative potentials? Which alternative, more productive imagesof musical work can be devised?Virtual Works – Actual Things addresses contemporary music ontologicaldiscourses, challenging dominant musicological accounts, questioning theirauthoritative foundation and moving towards dynamic perspectives devised bymusic practitioners and artist researchers. Specific attention is given to therelationship between the virtual multiplicities that enable the construction ofan image of a musical work and the actual, concrete materials that make such aconstruction possible. With contributions by prominent scholars, this book is awide-ranging and fascinating collection of essays, which will be of greatinterest for artistic research, contemporary musicology, music philosophy,performance studies and music pedagogy alike.Contributors: David Davies (McGill University, Montreal), AndreasDorschel (University of the Arts Graz), Lydia Goehr (Columbia University, NewYork), Kathy Kiloh (OCAD University, Toronto), Jake McNulty (ColumbiaUniversity, New York), Gunnar Hindrichs (University of Basel), John Rink (Universityof Cambridge)

New modes of epistemic relationships in artistic researchResearch is a process thatleads to new insights rupturing the existent fabric of knowledge. To preventthis process from disintegrating, its coherence must be assured. Under theheading transposition, seventeenartists, musicians, and theorists explain how one thing may turn into anotherin a spatio-temporal play of identity and difference that has the power to expandinto the unknown.While it does notattempt to define the still evolving field of artistic research, through theidea of transposition this book aims to grasp a quality increasingly importantto artistic practice because representational approaches have been losingtraction. Taking to heart the lessons of deconstruction, new modes of epistemicrelationships are being invented that include aesthetic dimensions. Workingwith materially concrete positions in a manner familiar to artists can ensurethat knowledge does not decay into relativism.Contributors: Annette Arlander(University of the Arts Helsinki), Paulo de Assis (Orpheus Institute, Ghent),Rosi Braidotti (Utrecht University), Leif Dahlberg (Royal Institute ofTechnology Stockholm), Lucia D'Errico (Orpheus Institute, Ghent), Mika Elo(University of the Arts Helsinki), Laura González (Royal Conservatoire ofScotland), Esa Kirkkopelto (University of the Arts Helsinki), Yve Lomax (RoyalCollege of Art, London), Cecile Malaspina (CNRS-Université Paris 1/UniversitéParis 7), Tor-Finn Malum Fitje (independent artist, Oslo), Dieter Mersch(Zurich University of the Arts), David Pirrò (University of Music andPerforming Arts Graz), Hans-Jörg Rheinberger (Max Planck Institute for theHistory of Science, Berlin), Hanns Holger Rutz (University of Music andPerforming Arts Graz), Michael Schwab (Orpheus Institute, Ghent/University ofApplied Arts Vienna), Birk Weiberg (ZurichUniversity of the Arts)

Beyondresemblance: creative divergence in music performanceWhat does it mean to produce resemblance in the performance of writtenmusic? Starting from how this question is commonly answered by the practice ofinterpretation in Western notated art music, this book proposes a move beyondcommonly accepted codes, conventions and territories of music performance.Appropriating reflections from post-structural philosophy, visual arts andsemiotics, and crucially based upon an artistic research project with a strongcreative and practical component, it proposes a new approach to musicperformance. The approach is based on divergence, on the difference produced byintensifying the chasm between the symbolic aspect of music notation and theirreducible materiality of performance. Instead of regarding performance asreiteration, reconstruction and reproduction of past musical works, Powersof Divergence emphasises its potential for the emergence of the new and forthe problematisation of the limits of musical semiotics.