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 t...
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Leuven, (Belgium) :
Leuven University Press,
[2021]
|
| Schriftenreihe: | Orpheus Institute series.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | 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.?0This 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: | 1 online resource (373 pages) : illustrations (some color), music |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9461663668 9789461663665 |
Internformat
MARC
| LEADER | 00000cam a2200000 i 4500 | ||
|---|---|---|---|
| 001 | ZDB-4-EBA-on1287616642 | ||
| 003 | OCoLC | ||
| 005 | 20241004212047.0 | ||
| 006 | m o d | ||
| 007 | cr ||||||||||| | ||
| 008 | 211206t20212021be ag ob 001 0 eng d | ||
| 040 | |a YDX |b eng |e rda |e pn |c YDX |d JSTOR |d UKAHL |d P@U |d OCLCF |d YDX |d OCLCO |d LUN |d N$T |d OCLCO |d SFB |d TFW |d CNNOR |d OCLCQ |d OCL |d OCLCQ |d OCLCO |d OCLCL | ||
| 019 | |a 1287675310 |a 1287895514 |a 1287921394 | ||
| 020 | |a 9461663668 |q electronic book | ||
| 020 | |a 9789461663665 |q (electronic bk.) | ||
| 020 | |z 9462702586 |q (paperback) | ||
| 020 | |z 9789462702585 |q (paperback) | ||
| 035 | |a (OCoLC)1287616642 |z (OCoLC)1287675310 |z (OCoLC)1287895514 |z (OCoLC)1287921394 | ||
| 037 | |a 22573/ctv1cbngkz |b JSTOR | ||
| 050 | 4 | |a MT40 |b .I67 2021 | |
| 082 | 7 | |a 781.3 |2 23 | |
| 049 | |a MAIN | ||
| 245 | 0 | 0 | |a Sound work : |b composition as critical technical practice / |c edited by Jonathan Impett. |
| 264 | 1 | |a Leuven, (Belgium) : |b Leuven University Press, |c [2021] | |
| 264 | 4 | |c ©2021 | |
| 300 | |a 1 online resource (373 pages) : |b illustrations (some color), music | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 336 | |a still image |b sti |2 rdacontent | ||
| 336 | |a notated music |b ntm |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Orpheus Institute series | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | 0 | |g Introduction: |t Music-making and storytelling / |r Jonathan Impett -- |t Too cool to boogie: craft, culture, and critique in computing / |r Alan F. Blackwell -- |t Illusions of form / |r David Rosenboom -- |t What to ware?: a guide to today's technological wardrobe / |r Nicolas Collins -- |t Toward a critical musical practice / |r Ann Warde -- |t The composer's domain: method and material / |r Nicholas Brown -- |t Dissociation and interference in composers' stories about music: the renewal of musical discourse / |r Jonathan Impett -- |g Plates -- |t The impossibility of material foundations / |r Scott McLaughlin -- |t Thinking liveness in performance with live electronics: the need for an eco-systemic notion of agency / |r Agostino Di Scipio -- |t Experiment and experience: compositional practice as critique / |r Lula Romero -- |t Designing the Threnoscope or, How I wrote one of my pieces / |r Thor Magnusson -- |t A few reflections about compositional practice through a personal narrative / |r Daniela Fantechi -- |t Temporal poetics as a critical technical practice / |r Karim Haddad -- |t Collaborative creation in electroacoustic music: practices and self-awareness in the work of musical assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia / |r Laura Zattra -- |t Parlour sounds: a critical compositional process towards a cyberfeminist theory of music technology / |r Patricia Alessandrini and Julie Zhu -- |t Changing the vocabulary of creative research: the role of networks, risk, and accountability in transcending technical rationality / |r Ambrose Field -- |t Designing audience-work relationships / |r Marko Ciciliani -- |g Online materials -- |g Notes on contributors -- |g Index. |
| 520 | 8 | |a 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.?0This 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. | |
| 588 | 0 | |a Online resource; title from PDF title page (JSTOR platform, viewed November 1, 2022). | |
| 650 | 0 | |a Composition (Music) |x Philosophy. | |
| 650 | 0 | |a Composition (Music) |x History and criticism. | |
| 650 | 0 | |a Composition (Music) |0 http://id.loc.gov/authorities/subjects/sh85029403 | |
| 650 | 6 | |a Composition (Musique) | |
| 650 | 6 | |a Composition (Musique) |x Philosophie. | |
| 650 | 6 | |a Composition (Musique) |x Histoire et critique. | |
| 650 | 7 | |a Composition (Music) |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 700 | 1 | |a Impett, Jonathan, |e editor, |e contributor. |0 http://id.loc.gov/authorities/names/nr92009523 | |
| 758 | |i has work: |a Sound Work (Text) |1 https://id.oclc.org/worldcat/entity/E39PCYqCJ6jYcqG33B7XhrQxym |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |t Sound work. |d Leuven (Belgium) : Leuven University Press, [2021] |z 9462702586 |w (OCoLC)1233268292 |
| 830 | 0 | |a Orpheus Institute series. |0 http://id.loc.gov/authorities/names/no2014029024 | |
| 856 | 4 | 0 | |l FWS01 |p ZDB-4-EBA |q FWS_PDA_EBA |u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2710607 |3 Volltext |
| 938 | |a Project MUSE |b MUSE |n musev2_94332 | ||
| 938 | |a Askews and Holts Library Services |b ASKH |n AH38181293 | ||
| 938 | |a YBP Library Services |b YANK |n 302620575 | ||
| 938 | |a EBSCOhost |b EBSC |n 2710607 | ||
| 994 | |a 92 |b GEBAY | ||
| 912 | |a ZDB-4-EBA | ||
| 049 | |a DE-863 | ||
Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-on1287616642 |
|---|---|
| _version_ | 1816882553458524161 |
| adam_text | |
| any_adam_object | |
| author2 | Impett, Jonathan Impett, Jonathan |
| author2_role | edt ctb |
| author2_variant | j i ji j i ji |
| author_GND | http://id.loc.gov/authorities/names/nr92009523 |
| author_additional | Jonathan Impett -- Alan F. Blackwell -- David Rosenboom -- Nicolas Collins -- Ann Warde -- Nicholas Brown -- Scott McLaughlin -- Agostino Di Scipio -- Lula Romero -- Thor Magnusson -- Daniela Fantechi -- Karim Haddad -- Laura Zattra -- Patricia Alessandrini and Julie Zhu -- Ambrose Field -- Marko Ciciliani -- |
| author_facet | Impett, Jonathan Impett, Jonathan |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | M - Music |
| callnumber-label | MT40 |
| callnumber-raw | MT40 .I67 2021 |
| callnumber-search | MT40 .I67 2021 |
| callnumber-sort | MT 240 I67 42021 |
| callnumber-subject | MT - Instruction and Study |
| collection | ZDB-4-EBA |
| contents | Music-making and storytelling / Too cool to boogie: craft, culture, and critique in computing / Illusions of form / What to ware?: a guide to today's technological wardrobe / Toward a critical musical practice / The composer's domain: method and material / Dissociation and interference in composers' stories about music: the renewal of musical discourse / The impossibility of material foundations / Thinking liveness in performance with live electronics: the need for an eco-systemic notion of agency / Experiment and experience: compositional practice as critique / Designing the Threnoscope or, How I wrote one of my pieces / A few reflections about compositional practice through a personal narrative / Temporal poetics as a critical technical practice / Collaborative creation in electroacoustic music: practices and self-awareness in the work of musical assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia / Parlour sounds: a critical compositional process towards a cyberfeminist theory of music technology / Changing the vocabulary of creative research: the role of networks, risk, and accountability in transcending technical rationality / Designing audience-work relationships / |
| ctrlnum | (OCoLC)1287616642 |
| dewey-full | 781.3 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.3 |
| dewey-search | 781.3 |
| dewey-sort | 3781.3 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>05666cam a2200613 i 4500</leader><controlfield tag="001">ZDB-4-EBA-on1287616642</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20241004212047.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr |||||||||||</controlfield><controlfield tag="008">211206t20212021be ag ob 001 0 eng d</controlfield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">YDX</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="e">pn</subfield><subfield code="c">YDX</subfield><subfield code="d">JSTOR</subfield><subfield code="d">UKAHL</subfield><subfield code="d">P@U</subfield><subfield code="d">OCLCF</subfield><subfield code="d">YDX</subfield><subfield code="d">OCLCO</subfield><subfield code="d">LUN</subfield><subfield code="d">N$T</subfield><subfield code="d">OCLCO</subfield><subfield code="d">SFB</subfield><subfield code="d">TFW</subfield><subfield code="d">CNNOR</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCL</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCL</subfield></datafield><datafield tag="019" ind1=" " ind2=" "><subfield code="a">1287675310</subfield><subfield code="a">1287895514</subfield><subfield code="a">1287921394</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9461663668</subfield><subfield code="q">electronic book</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9789461663665</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9462702586</subfield><subfield code="q">(paperback)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9789462702585</subfield><subfield code="q">(paperback)</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1287616642</subfield><subfield code="z">(OCoLC)1287675310</subfield><subfield code="z">(OCoLC)1287895514</subfield><subfield code="z">(OCoLC)1287921394</subfield></datafield><datafield tag="037" ind1=" " ind2=" "><subfield code="a">22573/ctv1cbngkz</subfield><subfield code="b">JSTOR</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">MT40</subfield><subfield code="b">.I67 2021</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">781.3</subfield><subfield code="2">23</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="245" ind1="0" ind2="0"><subfield code="a">Sound work :</subfield><subfield code="b">composition as critical technical practice /</subfield><subfield code="c">edited by Jonathan Impett.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Leuven, (Belgium) :</subfield><subfield code="b">Leuven University Press,</subfield><subfield code="c">[2021]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©2021</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (373 pages) :</subfield><subfield code="b">illustrations (some color), music</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">still image</subfield><subfield code="b">sti</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">notated music</subfield><subfield code="b">ntm</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Orpheus Institute series</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references and index.</subfield></datafield><datafield tag="505" ind1="0" ind2="0"><subfield code="g">Introduction:</subfield><subfield code="t">Music-making and storytelling /</subfield><subfield code="r">Jonathan Impett --</subfield><subfield code="t">Too cool to boogie: craft, culture, and critique in computing /</subfield><subfield code="r">Alan F. Blackwell --</subfield><subfield code="t">Illusions of form /</subfield><subfield code="r">David Rosenboom --</subfield><subfield code="t">What to ware?: a guide to today's technological wardrobe /</subfield><subfield code="r">Nicolas Collins --</subfield><subfield code="t">Toward a critical musical practice /</subfield><subfield code="r">Ann Warde --</subfield><subfield code="t">The composer's domain: method and material /</subfield><subfield code="r">Nicholas Brown --</subfield><subfield code="t">Dissociation and interference in composers' stories about music: the renewal of musical discourse /</subfield><subfield code="r">Jonathan Impett --</subfield><subfield code="g">Plates --</subfield><subfield code="t">The impossibility of material foundations /</subfield><subfield code="r">Scott McLaughlin --</subfield><subfield code="t">Thinking liveness in performance with live electronics: the need for an eco-systemic notion of agency /</subfield><subfield code="r">Agostino Di Scipio --</subfield><subfield code="t">Experiment and experience: compositional practice as critique /</subfield><subfield code="r">Lula Romero --</subfield><subfield code="t">Designing the Threnoscope or, How I wrote one of my pieces /</subfield><subfield code="r">Thor Magnusson --</subfield><subfield code="t">A few reflections about compositional practice through a personal narrative /</subfield><subfield code="r">Daniela Fantechi --</subfield><subfield code="t">Temporal poetics as a critical technical practice /</subfield><subfield code="r">Karim Haddad --</subfield><subfield code="t">Collaborative creation in electroacoustic music: practices and self-awareness in the work of musical assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia /</subfield><subfield code="r">Laura Zattra --</subfield><subfield code="t">Parlour sounds: a critical compositional process towards a cyberfeminist theory of music technology /</subfield><subfield code="r">Patricia Alessandrini and Julie Zhu --</subfield><subfield code="t">Changing the vocabulary of creative research: the role of networks, risk, and accountability in transcending technical rationality /</subfield><subfield code="r">Ambrose Field --</subfield><subfield code="t">Designing audience-work relationships /</subfield><subfield code="r">Marko Ciciliani --</subfield><subfield code="g">Online materials --</subfield><subfield code="g">Notes on contributors --</subfield><subfield code="g">Index.</subfield></datafield><datafield tag="520" ind1="8" ind2=" "><subfield code="a">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.?0This 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.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Online resource; title from PDF title page (JSTOR platform, viewed November 1, 2022).</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Composition (Music)</subfield><subfield code="x">Philosophy.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Composition (Music)</subfield><subfield code="x">History and criticism.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Composition (Music)</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh85029403</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Composition (Musique)</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Composition (Musique)</subfield><subfield code="x">Philosophie.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Composition (Musique)</subfield><subfield code="x">Histoire et critique.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Composition (Music)</subfield><subfield code="2">fast</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="a">Criticism, interpretation, etc.</subfield><subfield code="2">fast</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Impett, Jonathan,</subfield><subfield code="e">editor,</subfield><subfield code="e">contributor.</subfield><subfield code="0">http://id.loc.gov/authorities/names/nr92009523</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">Sound Work (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCYqCJ6jYcqG33B7XhrQxym</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="t">Sound work.</subfield><subfield code="d">Leuven (Belgium) : Leuven University Press, [2021]</subfield><subfield code="z">9462702586</subfield><subfield code="w">(OCoLC)1233268292</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Orpheus Institute series.</subfield><subfield code="0">http://id.loc.gov/authorities/names/no2014029024</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2710607</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Project MUSE</subfield><subfield code="b">MUSE</subfield><subfield code="n">musev2_94332</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH38181293</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">302620575</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">2710607</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBA</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| genre | Criticism, interpretation, etc. fast |
| genre_facet | Criticism, interpretation, etc. |
| id | ZDB-4-EBA-on1287616642 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:30:27Z |
| institution | BVB |
| isbn | 9461663668 9789461663665 |
| language | English |
| oclc_num | 1287616642 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (373 pages) : illustrations (some color), music |
| psigel | ZDB-4-EBA |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | Leuven University Press, |
| record_format | marc |
| series | Orpheus Institute series. |
| series2 | Orpheus Institute series |
| spelling | Sound work : composition as critical technical practice / edited by Jonathan Impett. Leuven, (Belgium) : Leuven University Press, [2021] ©2021 1 online resource (373 pages) : illustrations (some color), music text txt rdacontent still image sti rdacontent notated music ntm rdacontent computer c rdamedia online resource cr rdacarrier Orpheus Institute series Includes bibliographical references and index. 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 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.?0This 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. Online resource; title from PDF title page (JSTOR platform, viewed November 1, 2022). Composition (Music) Philosophy. Composition (Music) History and criticism. Composition (Music) http://id.loc.gov/authorities/subjects/sh85029403 Composition (Musique) Composition (Musique) Philosophie. Composition (Musique) Histoire et critique. Composition (Music) fast Criticism, interpretation, etc. fast Impett, Jonathan, editor, contributor. http://id.loc.gov/authorities/names/nr92009523 has work: Sound Work (Text) https://id.oclc.org/worldcat/entity/E39PCYqCJ6jYcqG33B7XhrQxym https://id.oclc.org/worldcat/ontology/hasWork Print version: Sound work. Leuven (Belgium) : Leuven University Press, [2021] 9462702586 (OCoLC)1233268292 Orpheus Institute series. http://id.loc.gov/authorities/names/no2014029024 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2710607 Volltext |
| spellingShingle | Sound work : composition as critical technical practice / Orpheus Institute series. Music-making and storytelling / Too cool to boogie: craft, culture, and critique in computing / Illusions of form / What to ware?: a guide to today's technological wardrobe / Toward a critical musical practice / The composer's domain: method and material / Dissociation and interference in composers' stories about music: the renewal of musical discourse / The impossibility of material foundations / Thinking liveness in performance with live electronics: the need for an eco-systemic notion of agency / Experiment and experience: compositional practice as critique / Designing the Threnoscope or, How I wrote one of my pieces / A few reflections about compositional practice through a personal narrative / Temporal poetics as a critical technical practice / Collaborative creation in electroacoustic music: practices and self-awareness in the work of musical assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia / Parlour sounds: a critical compositional process towards a cyberfeminist theory of music technology / Changing the vocabulary of creative research: the role of networks, risk, and accountability in transcending technical rationality / Designing audience-work relationships / Composition (Music) Philosophy. Composition (Music) History and criticism. Composition (Music) http://id.loc.gov/authorities/subjects/sh85029403 Composition (Musique) Composition (Musique) Philosophie. Composition (Musique) Histoire et critique. Composition (Music) fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85029403 |
| title | Sound work : composition as critical technical practice / |
| title_alt | Music-making and storytelling / Too cool to boogie: craft, culture, and critique in computing / Illusions of form / What to ware?: a guide to today's technological wardrobe / Toward a critical musical practice / The composer's domain: method and material / Dissociation and interference in composers' stories about music: the renewal of musical discourse / The impossibility of material foundations / Thinking liveness in performance with live electronics: the need for an eco-systemic notion of agency / Experiment and experience: compositional practice as critique / Designing the Threnoscope or, How I wrote one of my pieces / A few reflections about compositional practice through a personal narrative / Temporal poetics as a critical technical practice / Collaborative creation in electroacoustic music: practices and self-awareness in the work of musical assistants Marino Zuccheri, Alvise Vidolin, and Carl Faia / Parlour sounds: a critical compositional process towards a cyberfeminist theory of music technology / Changing the vocabulary of creative research: the role of networks, risk, and accountability in transcending technical rationality / Designing audience-work relationships / |
| title_auth | Sound work : composition as critical technical practice / |
| title_exact_search | 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 | Composition (Music) Philosophy. Composition (Music) History and criticism. Composition (Music) http://id.loc.gov/authorities/subjects/sh85029403 Composition (Musique) Composition (Musique) Philosophie. Composition (Musique) Histoire et critique. Composition (Music) fast |
| topic_facet | Composition (Music) Philosophy. Composition (Music) History and criticism. Composition (Music) Composition (Musique) Composition (Musique) Philosophie. Composition (Musique) Histoire et critique. Criticism, interpretation, etc. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2710607 |
| work_keys_str_mv | AT impettjonathan soundworkcompositionascriticaltechnicalpractice |