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What is "artistic research"? Taking today's artistic practice as his starting point [with particular reference to contemporary music], Toro Pérez discusses how far artistic research can be taken as an indicator of the vicissitudes of contemporary artistic practice, of its concerns and potential, and how it positions itself with regard to science on the one hand and to artistic practice on the other. In decreasing order of importance, Toro Pérez examines topics such as "artistic research", "musical form" and "the relationship between music and language". He concludes with remarks on the developmental potential of new music. [ABSTRACT FROM AUTHOR]

La musique, même la plus autonome, est un fait social. En tant que tel, elle joue un rôle dans le tissage des fonctions sociales : elle rassemble et disperse, synchronise et distrait, attire et menace, elle nous incite à l'action ou nous immobilise. Jean-Yves Bosseur s'est mis sur la trace des compositeurs qui, au lieu de craindre une telle instrumentalisation du son, ont activement cherché à créer une musique à usage - un genre méprisé à tort, qui ne cesse de se réinventer. [ABSTRACT FROM AUTHOR]

Il arrive bien souvent que la mort des genres traditionnels de l'art soit déclarée – la mort de la peinture, la mort de l'opéra, la mort du roman. En revanche, la naissance d'un genre artistique se fait plus discrètement, en tâtonnant. Avant d'émerger, le nouveau genre se cache sous des noms divers. C'est le cas de ce que nous avons fini par appeler art sonore ; Bastien Gallet tâche de le circonscrire. [ABSTRACT FROM AUTHOR]

Everything today has trash-potential. Despite this, a fair portion of New Music still draws its essential self-image from an elevation above the Low, the Cheap, the Simplistic, the Undifferentiated. Is this self-elevation sustainable? Wanja Aloe finds evidence that a waste-free society is an illusion also in the high*cultural sphere. [ABSTRACT FROM AUTHOR]

The stage and voice practice of the diseuses in the early Parisian "Cabaret artistique" has left unmistakable traces in today's composed theatre. The essay adumbrates a few lines of historical development and illuminates particular consequences of the transfer of cabaret practices between France and Germany: Mauricio Kagel and Georges Aperghis, but also contemporary students' works prove that the bond between the radical and oppositional spirit of the Parisian cabaret and the aestheticizing procedures in the literary cabaret of German stem still strongly influences the music-theatrical production of our time. As a conclusion the paper deals with the question of further potential applications of this engagement with performance practice into classical vocal arts. [ABSTRACT FROM AUTHOR]

The article discusses the concept of immersion in sound art. It explores the distinction between subject and object of sound art and the immersive experiences of various artworks in the element of ambiance and intensity, sensation and immersive aesthetics. It also tackles the subject of abstraction and conceptualism in contemporary art.

The article presents information about the achievements of Swiss composer Klaus Huber, who was awarded the Siemens Music Prize in February 2009. Descriptions are given of Huber's compositional philosophy, his compositions' intentional slowness, and his history as a music instructor at European universities. Further comments are made concerning Huber's compositions "Inwendig voller Figur," "Metanoia," and "Tenebrae."

A jewel of Catalan Rationalist architecture, and a nodal point of music and culture of the region, the Casa Gomis on La Ricarda estate, is now under threat. Marisa Gupta retraces the origin and remarkable history of this place, that welcomed composers, performers and artists during the Franco years and beyond (including John Cage, Merce Cunningham, Josep M. Mestres-Quadreny, Joan Prats, Roberto Gerhard, Antoni Tàpies, Joan Míro, Joan Brossa, and Joaquim Homs, amongst many others), and calls for a better appreciation of its current state and importance as a centre of Catalan and European culture. [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The public exhibition of an interactive research and art installation for the tracking of visitors to the train station in Basel, Switzerland is announced.

On a l'habitude d'opposer la musique contemporaine au romantisme; le romantique est associé au sentimentalisme, au culte du génie, aux rêveries subjectives qui n'appartiennent plus à notre temps. Et pourtant, c'est en se jouant de l'art du passé que la musique d'aujourd'hui s'empare d'une figure profondément romantique qu'est l'ironie. Au travers de cette figure de réflexion, Christoph Haffter relie l'oeuvre de Simon Steen-Andersen et de Trond Reinholdtsen à la pensée romantique de Friedrich Schlegel. [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the sole multiphonics of the soprano saxophone, Giorgio Netti was able to create a whole compository scheme of more than one hour, his cycle necessità d'interrogare il cielo. This piece was the trigger for a research project by Giorgio Netti and Marcus Weiss, dedicated to the systematic inquiry and exposition of the saxophone multiphonics. The results of this research were published in a Bärenreiter bilingual publication and found direct application in compositional practice: Georg Friedrich Haas not only uses the saxophone multiphonics in his Konzert für Baritonsaxophon und Orchester, but let them expand and anker themselves as harmonic and temporal processes into the whole of the through-composed orchestral texture. This almost undisturbed movement form art to research and back again will be described in detail in this article, while analytical observations of the works of Netti and Haas will be offered as further grounding, [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Until now New Music, in a different way as advanced fine art, did not permeate a broader social context. «New Music» and «Pop Music» are commonly taken as the embodiment of «elite» and «popular», two irreconcilable opposites of our time. That this has not to be so, composer Johannes Kreidler showed it in his art, and calls in this essay for measures of actualisation of New Music especially with respects to the debates around the consequences of the «Digital Revolution.» [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers the author's insights on contemporary music positions in the 20th century. He describes four positions such as critical theory, postmodernism, materialism and expanded sonic practice. He also provides his perspectives regarding music in the 21st century, the concept of open scores, and automaton approach.

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the second part of this essay [the first one appearing in dissonance 112] Richard Taruskin discusses various issues related to the ethical questions raised by contemporary music practice [with some comparisons to contemporary art and sculpture]: drawing on his own personal experience with musicans in USSR and on various cases of debates around censorship Cor cancelling) of musical performances, most notably of John Adams' opera The Death of Klinghoffer, Taruskin stresses how our representation of music practice (and, in particular, our representation of the role and status of composers] is based on the remnants of nineteenth century conceptions of idealized transgression and a systematic overemphasis of the individual to the detriment of the collective. [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the first decades of the 20th century onward, folkloric inspiration plays an important role in Hungarian art music. After the first, well-known generation of composers working directly on that material (Bartók, Kodóly, Lajtha), the question of the relationship between folklore and modernity in today's Hungary remains very little documented: Emőke Solymosi Tari studies László Dubrovay's trajectory, his relationship to both the Western European avant-gardes and electroacoustic techniques, and his return to folklore later in life. [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Boswil, die Alte Kirche und das Künstlerhaus, ist eine Art Mythos in der Neuen Musik. Viele Musiker waren dort und erinnern sich gern daran zurück: an die diskussionsreichen 70er Jahre. Das ist lange her. Boswil steht heute woanders. Die Bedürfnisse haben sich gewandelt, aber es ist faszinierend zu beobachten, wie sich diese Kulturinstitution in jenen 70er Jahren konstituierte, wandelte – und dabei weit über die nationalen, ja die weltpolitischen Grenzen hinweg an Ausstrahlung gewann. [ABSTRACT FROM AUTHOR]

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dissonance / Dissonanz is the property of ASM/STV and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)