Page 164 - Composing Processes and Artistic Agency

Index 153
collaboration 22, 24–32, 130; see also Dewey, John 3–4, 18, 61, 62, 77n5,
cooperation 80, 81, 82, 84, 85, 94, 97, 98, 100,
collaboration versus cooperation 24 103, 138
Collins, David 6, 123 Dienz, Christof ix, 18, 25, 28, 38, 44, 83,
Collins, Harry 88, 105n1 85, 87, 90, 106n2
commission 14, 15–17, 122, 129 digitization 36–37
commitment 28–29, 32, 63, 97, 103; Dillon, Steve 134
see also attitude directionality 2, 3, 16, 36, 39, 45, 49, 67
community of practice; practice discipline 18, 20, 62, 84, 89
community 15, 32, 44, 49, 51, 52, 61, discourse, artistic; discourse musical-
75, 82, 93–95, 102 aesthetic 43–47, 52, 101, 130, 132;
competence 9, 14, 21, 22–23, 30, 31, 32, see also aesthetics
35, 49, 62, 65, 80, 82, 96–98, 102, 105, disposition 3, 81, 93, 116, 144; see also
129; see also ability; mastery ability; capacity
competence, regimes of 80, 82, 102 Donin, Nicolas ix, 6, 7, 59, 123, 124–125
competition 24, 93 Dreyfus, Hubert 9, 35, 60, 61, 83, 89, 92,
composition process see process, creative 96, 104
computer 14, 19, 20, 22, 35–39, 41, Dreyfus, Stuart 35, 60, 83, 92, 96, 104
49–52, 60, 86, 93, 100, 119, 122, 133; Dreyfus’ model of skill acquisition
see also instrument, software; 92–93, 106
programming Duguid, Paul 99, 101, 103
computer music see electro-acoustic duration of composition process 16,
music 58, 59
concentration 19, 36, 84, 89; see also
awareness ear 65, 94; see also hearing
consciousness, conscious 3, 8, 36, 41, 45, education 20, 43, 44, 47, 94, 95, 120; see
47, 50, 59, 61, 87, 92, 99, 104, 106n4, also training
117, 125, 134, 136, 145; see also Eimert, Herbert 66, 127, 141
awareness electro-acoustic music; computer music
contingency, contingent 4, 50, 57, 75, 76, 35, 37, 51, 84, 121, 130, 133, 135
96, 99, 106n6 embodiment 9n1, 35, 80, 87, 88, 89, 134;
cooperation 20, 22–32, 95, 136; see also see also body; knowledge, physical
collaboration emotion 2, 4, 7, 19, 21, 28, 52, 59, 62, 63,
corporeality 52, 80, 101; see also body 75, 92, 120; see also feeling; mood
Coulter, Jeff 3, 61, 104 ensemble 15, 16, 24–32, 129, 130
creative crux 132, 133 “Epitaph für Aikichi Kuboyama” (by
creativity 1, 3, 9, 16, 26, 97, 111, 116, Herbert Eimert) 66, 127, 141
123, 134 equipment see apparatuses
criterion 4, 32, 34, 38, 49, 61, 63, 65, 70, Essl, Karlheinz ix, 6, 17, 19, 26, 27,
82, 90–93, 96, 112, 130 34–36, 48, 49, 51, 59, 63–69, 71, 74,
critique génétique 114–115 76, 77n4, 84, 85, 86, 88, 89, 94, 122,
123, 125, 127, 130, 132, 133, 134, 135,
Dahlhaus, Carl 49, 113 138, 140–141, 142, 143
Danuser, Hermann 113, 122 experience, aesthetic; musical 4, 17, 80,
Davies, Stephen 26 106n5, 112
decision, in composition process 26, 50, experience, past; previous 20, 23, 49, 81,
51, 52, 59, 66, 67, 74, 83, 89, 90, 92, 83, 85, 98, 99, 100
93, 121, 124, 134–136, 138, 144, experience, practice-bounded 2, 27, 31,
145, 148 47, 51, 59, 84, 92
decision, pre-compositional 15, 70, 91, experience, professional 5, 17, 23, 34, 35,
138, 141 59, 82, 83, 92
demystification of the creative process 97, experience, sensory; auditory 36, 52, 65,
111, 113, 117, 119, 148n1 80, 85–86, 95, 99, 138