ORPHEUS
ORPHEUS
The Orpheus Institute Series encompasses monographs by fellows and
associates of the Orpheus Institute, compilations of lectures and texts
from seminars and study days, and edited volumes on topics arising
from work at the Institute. Research can be presented in digital media
as well as printed texts. As a whole, the series is meant to enhance
and advance discourse in the field of artistic research in music and to
generate future work in this emerging and vital area of study.
Other titles in this series (issued in 2013):
– Experimental Systems: Future Knowledge in Artistic Research
Michael Schwab (ed.)
ISBN 978 90 5867 973 4
– Composing under the Skin: The Music-making Body
at the Composer’s Desk
Paul Craenen, Helen White (transl.)
Essays on
Sound and Score brings together artistic-research expertise The Orpheus Institute has been providing postgraduate education
from prominent international voices exploring the intimate for musicians since 1996 and introduced the first doctoral programme
relations between sound and score, and the artistic possibil- for music practitioners in Flanders (2004). Acting as an umbrella
institution for Flanders, it is co-governed by the music and dramatic
ities that this relationship yields for performers, composers
Sound, Score
arts departments of all four Flemish colleges, which are strongly
and listeners. involved in its operation.
Throughout the Institute’s various activities (workshops,
Considering “notation” as the totality of words, signs and
and
masterclasses, seminars, interviews, and associated events) there is
Sound
symbols encountered on the road to a concrete performance a clear focus on the development of a new research discipline in the
of music, this book aims at embracing different styles and arts: one that addresses questions and topics that are at the heart of
periods in a comprehensive understanding of the complex musical practice, building on the unique expertise and perspectives of
Notation
relations between invisible sound and mute notation, between musicians and constantly dialoguing with more established research
disciplines.
aural perception and visual representation, between the con- Within this context, the Orpheus Institute launched an international
creteness of sound and the iconic essence of notation. Research Centre in 2007 that acts as a stable constituent within
& Score
an ever growing field of enquiry. The Orpheus Research Centre in
Three main perspectives structure this volume: a concep- Music [ORCiM] is a place where musical artists can fruitfully conduct
tual approach that offers contributions from different fields individual and collaborative research on issues that are of concern
of enquiry (history, musicology, semiotics), a practical one to all involved in artistic practice. The development of a discipline-
that takes the skilled body as its point of departure (written specific discourse in the field of artistic research in music is the core
by performers), and finally an experimental perspective that mission of ORCiM.
challenges state-of-the-art practices, including transdiscipli-
nary approaches in the crossroads to visual arts and dance.
Sound & Score
Paulo de Assis is a trained concert pianist, a musicologist and an artist-researcher with
transdisciplinary interests on Composition, Philosophy, French Post-Structuralism, and Epis-
temology. He is the Principal Investigator of the European Research Council funded project
INSTITUTE
“Experimentation versus Interpretation: exploring New Paths in Music Performance in the
Twenty-First Century”, hosted at the Orpheus Institute, Ghent.
William Brooks is Professor of Music at the University of York (UK), Emeritus Professor at the
University of Illinois, and a Senior Fellow at the Orpheus Institute, where he also serves as
series editor for Orpheus publications.
Kathleen Coessens is a philosopher and artist, investigating the crossings of science and art.
She researches and teaches at the Vrije Universiteit Brussel in the Centre for Logic and Phi-
losophy of Science (CLWF), at the Conservatory for music, dance and drama (Antwerp), and
is a Research Fellow at the Orpheus Institute in Ghent. Her artistic and research projects
explore the boundaries of the sensorial, the cultural and the ecological.
Contributions by Virginia Anderson (Experimental Music Catalogue); Paulo de Assis
(Orpheus Institute Ghent); Sandeep Bhagwati (Concordia University Montréal); Robin T. Bier
(University of York); Maria Calissendorff (Royal College of Music, Stockholm); Miguelangel
Clerc (Leiden University); Kathleen Coessens (Vrije Universiteit Brussel & Orpheus Institute
Ghent); Jeremy Cox, (European Association of Conservatoires (AEC)); Darla Crispin
(Orpheus Research Centre in Music, Ghent); Anne Douglas (Robert Gordon University);
Gregorio García Karman (University of Huddersfield); Yolande Harris (Leiden University);
Susanne Jaresand (Royal College of Music, Stockholm); Tanja Orning (Norwegian Academy
of Music, Oslo); Paul Roberts (Guildhall School of Music and Drama, London); Anna Scott
(Leiden University) and Andreas Georg Stascheit (Institute for Advanced Study in the
Humanities, Essen/Dortmund).
Orpheus Institute
Korte Meer 12
B – 9000 Ghent
Belgium
ISBN 978 90 5867 976 5
Tel: +32 (0)9 330 40 81
INSTITUTE
Fax: +32 (0)9 330 40 82
e-mail: info@orpheusinstituut.be
website: www.orpheusinstituut.be
SERIES Paulo de Assis, William Brooks, Kathleen Coessens (eds.)