Sound work: composition as critical technical practice
The potential for critical technical practice in the creation of music 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 comp...
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| Format: | Buch |
| Sprache: | English |
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Leuven
Leuven University Press
[2021]
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| Schriftenreihe: | Orpheus Institute series
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The potential for critical technical practice in the creation of music 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 public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with "one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. ... A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work." This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music. |
| Beschreibung: | 373 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9789462702585 |
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| 505 | 8 | |a Intro -- Introduction -- Music-Making and Storytelling -- Jonathan Impett -- Too Cool to Boogie -- Craft, Culture, and Critique in Computing -- Alan F. Blackwell -- Illusions of Form -- David Rosenboom -- What to Ware? -- A Guide to Today's Technological Wardrobe* -- Nicolas Collins -- Toward a Critical Musical Practice -- Ann Warde -- The Composer's Domain -- Method and Material -- Nicholas Brown -- Dissociation and Interference in Composers' Stories about Music -- The Renewal of Musical Discourse -- Jonathan Impett -- Plates -- The Impossibility of Material Foundations -- Scott McLaughlin -- Thinking Liveness in Performance with Live Electronics -- The Need for an Eco-systemic Notion of Agency -- Agostino Di Scipio -- Experiment and Experience -- Compositional Practice as Critique -- Lula Romero -- Designing the Threnoscope or, How I Wrote One of My Pieces -- Thor Magnusson -- A Few Reflections about Compositional Practice through a Personal Narrative -- Daniela Fantechi -- Temporal Poetics as a Critical Technical Practice -- Karim Haddad -- Collaborative Creation in Electroacoustic Music -- Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia -- Laura Zattra -- Parlour Sounds -- A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology -- Patricia Alessandrini and Julie Zhu -- Changing the Vocabulary of Creative Research -- The Role of Networks, Risk, and Accountability in Transcending Technical Rationality -- Ambrose Field -- Designing Audience-Work Relationships -- Marko Ciciliani -- Online Materials -- Notes on Contributors -- Index. | |
| 520 | 3 | |a The potential for critical technical practice in the creation of music 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 public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with "one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. ... A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work." This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music. | |
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Datensatz im Suchindex
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| adam_text | Table of Contents 7 Introduction: Music-Making and Storytelling Jonathan Impeti 15 Too Cool to Boogie: Craft, Culture, and Critique in Computing Alan F. Blackwell 35 Illusions of Form David Rosenboom 79 What to Ware? A Guide to Today’s Technological Wardrobe Nicolas Collins 89 Toward a Critical Musical Practice Ann Warde 105 The Composer’s Domain: Method and Material Nicholas Brown 117 Dissociation and Interference in Composers’ Stories about Music: The Renewal of Musical Discourse Jonathan Impett 137 Plates 153 The Impossibility of Material Foundations Scott McLaughlin 171 Thinking Liveness in Performance with Live Electronics: The Need for an Eco-systemic Notion of Agency Agostino Di Sclpio 195 Experiment and Experience: Compositional Practice as Critique Lula Romero 219 Designing the Threnoscope or, How I Wrote One of My Pieces Thor Magnusson 231 A Few Reflections about Compositional Practice through a Personal Narrative Daniela Fantechi 5
247 Temporal Poetics as a Critical Technical Practice Karim Haddad 277 Collaborative Creation in Electroacoustic Music: Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia Laura Zattra 295 Parlour Sounds: A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology Patricia Alessandrini and Julie Zhu 319 Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality Ambrose Field 335 Designing Audience-Work Relationships Marko Ciciliani 355 Online Materials 357 Notes 365 Index on Contributors 6
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| adam_txt |
Table of Contents 7 Introduction: Music-Making and Storytelling Jonathan Impeti 15 Too Cool to Boogie: Craft, Culture, and Critique in Computing Alan F. Blackwell 35 Illusions of Form David Rosenboom 79 What to Ware? A Guide to Today’s Technological Wardrobe Nicolas Collins 89 Toward a Critical Musical Practice Ann Warde 105 The Composer’s Domain: Method and Material Nicholas Brown 117 Dissociation and Interference in Composers’ Stories about Music: The Renewal of Musical Discourse Jonathan Impett 137 Plates 153 The Impossibility of Material Foundations Scott McLaughlin 171 Thinking Liveness in Performance with Live Electronics: The Need for an Eco-systemic Notion of Agency Agostino Di Sclpio 195 Experiment and Experience: Compositional Practice as Critique Lula Romero 219 Designing the Threnoscope or, How I Wrote One of My Pieces Thor Magnusson 231 A Few Reflections about Compositional Practice through a Personal Narrative Daniela Fantechi 5
247 Temporal Poetics as a Critical Technical Practice Karim Haddad 277 Collaborative Creation in Electroacoustic Music: Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia Laura Zattra 295 Parlour Sounds: A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology Patricia Alessandrini and Julie Zhu 319 Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality Ambrose Field 335 Designing Audience-Work Relationships Marko Ciciliani 355 Online Materials 357 Notes 365 Index on Contributors 6 |
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| author_facet | Impett, Jonathan ca. 20. Jh |
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| contents | Intro -- Introduction -- Music-Making and Storytelling -- Jonathan Impett -- Too Cool to Boogie -- Craft, Culture, and Critique in Computing -- Alan F. Blackwell -- Illusions of Form -- David Rosenboom -- What to Ware? -- A Guide to Today's Technological Wardrobe* -- Nicolas Collins -- Toward a Critical Musical Practice -- Ann Warde -- The Composer's Domain -- Method and Material -- Nicholas Brown -- Dissociation and Interference in Composers' Stories about Music -- The Renewal of Musical Discourse -- Jonathan Impett -- Plates -- The Impossibility of Material Foundations -- Scott McLaughlin -- Thinking Liveness in Performance with Live Electronics -- The Need for an Eco-systemic Notion of Agency -- Agostino Di Scipio -- Experiment and Experience -- Compositional Practice as Critique -- Lula Romero -- Designing the Threnoscope or, How I Wrote One of My Pieces -- Thor Magnusson -- A Few Reflections about Compositional Practice through a Personal Narrative -- Daniela Fantechi -- Temporal Poetics as a Critical Technical Practice -- Karim Haddad -- Collaborative Creation in Electroacoustic Music -- Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia -- Laura Zattra -- Parlour Sounds -- A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology -- Patricia Alessandrini and Julie Zhu -- Changing the Vocabulary of Creative Research -- The Role of Networks, Risk, and Accountability in Transcending Technical Rationality -- Ambrose Field -- Designing Audience-Work Relationships -- Marko Ciciliani -- Online Materials -- Notes on Contributors -- Index. |
| ctrlnum | (OCoLC)1298739685 (DE-599)BVBBV047834517 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| format | Book |
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| illustrated | Illustrated |
| index_date | 2024-07-03T19:10:00Z |
| indexdate | 2024-07-10T09:22:38Z |
| institution | BVB |
| isbn | 9789462702585 |
| language | English |
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| physical | 373 Seiten Illustrationen, Notenbeispiele |
| publishDate | 2021 |
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| publisher | Leuven University Press |
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| spelling | Sound work composition as critical technical practice edited by Jonathan Impett Leuven Leuven University Press [2021] 373 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Orpheus Institute series Intro -- Introduction -- Music-Making and Storytelling -- Jonathan Impett -- Too Cool to Boogie -- Craft, Culture, and Critique in Computing -- Alan F. Blackwell -- Illusions of Form -- David Rosenboom -- What to Ware? -- A Guide to Today's Technological Wardrobe* -- Nicolas Collins -- Toward a Critical Musical Practice -- Ann Warde -- The Composer's Domain -- Method and Material -- Nicholas Brown -- Dissociation and Interference in Composers' Stories about Music -- The Renewal of Musical Discourse -- Jonathan Impett -- Plates -- The Impossibility of Material Foundations -- Scott McLaughlin -- Thinking Liveness in Performance with Live Electronics -- The Need for an Eco-systemic Notion of Agency -- Agostino Di Scipio -- Experiment and Experience -- Compositional Practice as Critique -- Lula Romero -- Designing the Threnoscope or, How I Wrote One of My Pieces -- Thor Magnusson -- A Few Reflections about Compositional Practice through a Personal Narrative -- Daniela Fantechi -- Temporal Poetics as a Critical Technical Practice -- Karim Haddad -- Collaborative Creation in Electroacoustic Music -- Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia -- Laura Zattra -- Parlour Sounds -- A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology -- Patricia Alessandrini and Julie Zhu -- Changing the Vocabulary of Creative Research -- The Role of Networks, Risk, and Accountability in Transcending Technical Rationality -- Ambrose Field -- Designing Audience-Work Relationships -- Marko Ciciliani -- Online Materials -- Notes on Contributors -- Index. The potential for critical technical practice in the creation of music 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 public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with "one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. ... A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work." This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music. Komposition (DE-588)4032012-1 gnd rswk-swf Musikproduktion (DE-588)4235850-4 gnd rswk-swf Urheberrecht (DE-588)4062127-3 gnd rswk-swf Wissensproduktion (DE-588)4660420-0 gnd rswk-swf Musikproduktion (DE-588)4235850-4 s Komposition (DE-588)4032012-1 s Wissensproduktion (DE-588)4660420-0 s Urheberrecht (DE-588)4062127-3 s DE-604 Impett, Jonathan ca. 20. Jh. (DE-588)115067170X edt Erscheint auch als Online-Ausgabe 978-94-6166-366-5 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033217724&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Sound work composition as critical technical practice Intro -- Introduction -- Music-Making and Storytelling -- Jonathan Impett -- Too Cool to Boogie -- Craft, Culture, and Critique in Computing -- Alan F. Blackwell -- Illusions of Form -- David Rosenboom -- What to Ware? -- A Guide to Today's Technological Wardrobe* -- Nicolas Collins -- Toward a Critical Musical Practice -- Ann Warde -- The Composer's Domain -- Method and Material -- Nicholas Brown -- Dissociation and Interference in Composers' Stories about Music -- The Renewal of Musical Discourse -- Jonathan Impett -- Plates -- The Impossibility of Material Foundations -- Scott McLaughlin -- Thinking Liveness in Performance with Live Electronics -- The Need for an Eco-systemic Notion of Agency -- Agostino Di Scipio -- Experiment and Experience -- Compositional Practice as Critique -- Lula Romero -- Designing the Threnoscope or, How I Wrote One of My Pieces -- Thor Magnusson -- A Few Reflections about Compositional Practice through a Personal Narrative -- Daniela Fantechi -- Temporal Poetics as a Critical Technical Practice -- Karim Haddad -- Collaborative Creation in Electroacoustic Music -- Practices and Self-Awareness in the Work of Musical Assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia -- Laura Zattra -- Parlour Sounds -- A Critical Compositional Process towards a Cyberfeminist Theory of Music Technology -- Patricia Alessandrini and Julie Zhu -- Changing the Vocabulary of Creative Research -- The Role of Networks, Risk, and Accountability in Transcending Technical Rationality -- Ambrose Field -- Designing Audience-Work Relationships -- Marko Ciciliani -- Online Materials -- Notes on Contributors -- Index. Komposition (DE-588)4032012-1 gnd Musikproduktion (DE-588)4235850-4 gnd Urheberrecht (DE-588)4062127-3 gnd Wissensproduktion (DE-588)4660420-0 gnd |
| subject_GND | (DE-588)4032012-1 (DE-588)4235850-4 (DE-588)4062127-3 (DE-588)4660420-0 |
| title | Sound work composition as critical technical practice |
| title_auth | Sound work composition as critical technical practice |
| title_exact_search | Sound work composition as critical technical practice |
| title_exact_search_txtP | Sound work composition as critical technical practice |
| title_full | Sound work composition as critical technical practice edited by Jonathan Impett |
| title_fullStr | Sound work composition as critical technical practice edited by Jonathan Impett |
| title_full_unstemmed | Sound work composition as critical technical practice edited by Jonathan Impett |
| title_short | Sound work |
| title_sort | sound work composition as critical technical practice |
| title_sub | composition as critical technical practice |
| topic | Komposition (DE-588)4032012-1 gnd Musikproduktion (DE-588)4235850-4 gnd Urheberrecht (DE-588)4062127-3 gnd Wissensproduktion (DE-588)4660420-0 gnd |
| topic_facet | Komposition Musikproduktion Urheberrecht Wissensproduktion |
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