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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 between its potential status as discipline or as practice. It has developed topoi, tropes and its own canon of cases, texts and figures. How does it negotiate relationships with institutions, disciplines and bodies of theory while retaining the critical perspective of the artist? Twenty years ago the Orpheus Institute was founded in Ghent to pursue research through the practice of musicians and thus the Orpheus Institute is of the same generation as the field it was established to explore. This festive volume in honour of 20 years of the Orpheus Institute reviews the initial trajectory and looks ahead to the institute's new position.

muziektheorie --- research --- Music --- Orpheus Instituut [Ghent] --- Muziek --- Orpheus Instituut [Gent] --- Musicology. --- Musikwissenschaft. --- Orpheus Instituut --- Orpheus Instituut. --- Arts --- Aesthetics --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Study and teaching. --- Research. --- Psychology --- Orpheus Institute --- Arts, Primitive --- Radio broadcasting Aesthetics --- Artistiek onderzoek --- Onderzoek --- België --- 21e eeuw --- Musicology

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"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."--Page 4 of cover.

Composition (Music). --- 592 --- Publicaties onderzoeksinstellingen --- Composition (Music) --- 78 <09> --- 78 <09> Muziekgeschiedenis --- Muziekgeschiedenis --- Composing (Music) --- Music --- Music composing --- Music composition --- Musical composition --- Concertante style --- Composition --- Electronic books --- Books in machine-readable form --- Digital books --- E-books --- Ebooks --- Online books --- Books --- Electronic publications --- Traktaten --- Methodes --- Compositie --- Compositieleer --- Compositietechnieken --- Composition (Musique) --- Philosophy. --- History and criticism. --- Philosophie. --- Histoire et critique.