Page 167 - Composing Processes and Artistic Agency

156 Index
learning by doing 81, 94, 96; see also Noisternig, Markus ix, 22
training non-peers 13, 14, 20–23, 25, 32
Leroux, Philippe 124 Nordenstam, Tore 105
“Les Cris des Lumières” (by Clemens notation, graphic; diagrams 45, 49
Gadenstätter) 6, 39, 40 notation, musical 23, 28, 32, 41, 42, 43,
“Lexikon-Sonate” (by Karlheinz Essl) 133 47–49, 52, 68; see also score, musical;
“LipsEarsAssNoseBoobs (Gloomy sketches (Notaten)
Sunday)” (by Marko Ciciliani) 6, 68, notation, precise, exact, appropriate 27,
126–127, 133, 145, 146, 147 28, 48
listeners see audience notation, systems of 7, 13, 14,27–28,
listening see hearing 29–30, 41–43, 47–49, 52, 62
Liszt, Franz 33 Nottebohm, Gustav 112–113
Lockwood, Lewis 113
“Lost Highway” (by Olga Neuwirth) 22 objective see goal
loudspeakers 17, 20, 26, 36; see also objects, immaterial 2, 5, 7, 13, 14, 41–52
apparatuses objects, material 2, 5, 7, 13, 14, 33–41,
Luhmann, Niklas 112 95, 100, 115; see also tool
Lynch, Michael 80 Ong, Walter 47
orchestra see ensemble
Mahler, Gustav 145
making 3, 20, 28, 30, 35, 60–63, 63, 65, paper, kinds of 39, 41
66, 67, 68, 71, 73, 75, 76, 85, 95, 105, participants 5, 13, 14, 20–32, 46; see also
111, 122 non-peers; peers; objects; material
Malt, Mikhail ix, 51 participation 2–4, 7, 21–22, 44, 94, 95,
mastery 2, 3, 4, 17, 27, 60, 66, 81, 82, 83, 102, 133
84, 96, 97, 99, 104; see also particularity 60, 63, 64, 75, 113; see also
competence; expertise uniqueness
materiality 9, 33; see also objects; tool Party, Javier ix, 25, 90
McAdams, Stephen 123–124 Paul Sacher Foundation 113, 114
meaning 2, 9, 23, 28, 37, 38, 43, 49, 51, peers 13, 14, 20–21, 23–32, 81
61, 63, 73, 80, 85, 94, 97, 101, 132; perception 8, 23–24, 33, 63, 81, 85, 87,
see also understanding 89, 92–93, 100, 103, 144; see also
mediamorphosis 22 experience, sensory; hearing
Meizoz, Jérôme 29 performance, context of 15, 16, 21–22,
Merleau-Ponty, Maurice 80, 89, 43, 105, 130
100–101, 103 performance, musical 14, 14, 16–17, 21,
Meyer, Felix 113, 115 22–24, 26, 27–31, 35, 36, 65–69, 72,
mood 19, 62, 88, 117; see also emotion 89, 105, 121, 126, 133, 141
Mundry, Isabel 135, 144 performers see musicians
musical material 8, 45, 50, 60, 65, 73, 93, “peripheries” (by Katharina Klement) 6
112, 120, 128, 129, 132, 133 perspective of composer 1, 13, 51, 63, 65,
musicians; performers; players; instru- 68, 93, 95
mentalists 14, 16, 17, 22, 25, 26, 30, perspective of musicians or performers
31, 34, 43, 46, 49, 51, 63, 65, 67, 68, 23, 30, 51, 63, 65, 68, 101
86, 90, 94, 99, 101, 104, 113, 122, 130, perspective of the audience 21, 68
133, 136 Pickering, Andrew 14, 58, 62, 77n7
Mütter, Bertl ix, 19, 28, 30, 32, 48, 88 plan 3, 18, 59, 62, 68, 70, 75, 77n7, 80,
115, 124, 127, 134, 137, 140, 141
network (social) 3, 20, 53n2, 102; see also planning, compositional 18, 59, 62, 115,
collaboration; cooperation 127, 134, 137, 141, 145
Neuwirth, Olga 22 Platz, Robert HP 111, 121
Newman, Timothy U. 121–122 players see musicians
Nicolini, Davide 33, 86, 95, 96, 100 playing around 86, 134–135; see also
Nierhaus, Gerhard 50, 51, 92 exploring; trying out