Page 168 - Composing Processes and Artistic Agency

Index 157
Poincaré, Henri 57 Romantic view; conception 34, 117,
Polanyi, Michael 3, 4, 10n6, 17, 19, 36, 122, 148n1
60, 81, 83, 86, 93, 97, 99, 103, 105n1, routine 3, 5, 9, 18–19, 58, 59, 81, 83, 84,
106n5 93, 95, 99, 135; see also habit
position, social 26, 44, 46, 122, 129, 134 rule 2–3, 9, 38, 43, 50–51, 60–61, 64,
possibility space 4, 66, 134, 135 82,90–93, 99, 104
practical logic or sense 3, 16, 33, 39, 105 Ryle, Gilbert 4, 97, 103
practice (in a general sense) 2, 13, 15, 16,
19, 30, 31, 36, 44, 52n1, 60, 61, 80, 81, Schatzki, Theodore 2, 52n1, 60, 63, 86, 105
83, 84, 85, 88, 89, 90, 93, 95, 97, 101, 103 Schenker, Heinrich 113–114
practice, conceptual or reflective 2, 47, Schmidt, Robert 14, 60
60, 62, 83, 96, 104; see also thinking, Schön, Donald 61, 85, 87, 96, 105
conceptual Schönberg, Arnold 114, 118
practice community see community of Schumann, Robert 111
practice score, musical 15–16, 22–24, 27–31, 38,
practice-oriented or praxeological 39, 41, 44, 48–49, 62, 67–68, 80, 100,
perspective 3, 33, 47, 63, 85 115, 124, 136, 141
practices, artistic 1–3, 34, 60–61, 76, sector, cultural; sector, musical 14, 16,
93–95, 97, 105, 125, 128–129 46, 95, 130; see also art worlds
practices, composing 21, 32, 33–34, 47, seeing 61, 76, 95, 104
49–50, 58, 60, 62, 74, 81–82, 89–90, self-description 1, 8
101, 103, 124–130, 145 self-reflection 1, 21, 84, 118,
pragmatic, aspects or considerations 15, 119–123, 130
28, 29, 38–39, 66, 69–70 self-representation, self-image see identity
preferences 4, 19, 24, 38, 52, 63, 76, 88, 96 “Sinfonia” (by Luciano Berio) 69, 126,
process, creative; composition process 144, 145
1–2, 4, 5–7, 14, 21–26, 28, 32, 34, 35, situation, compositional 16, 17, 25, 26,
37, 39, 49–50, 52, 57–59, 60, 62, 60, 81, 85, 97, 129
63–76, , 83, 84, 86, 97–102, 111–148; sketches (Notaten) 15, 37, 40, 41, 42, 44,
see also work process 59, 92, 96, 139
professionalism 21, 22, 32 sketch studies 111, 112–115, 148n1
programming 35, 41, 50, 51, 121, 127, skilfulness 9n2, 83, 88, 96, 105
133, 140, 141; see also computer skills 2–3, 33, 35, 75, 80–82, 88, 92, 96,
public see audience 102–105, 141; see also know-how
Sloboda, John 111
Rammert, Werner 14, 37 Smudits, Alfred ix, 22
reading 30, 41, 45, 47, 49, 59, 102 somaesthetics 24, 87–90, 100, 105;
recordings; sound files 25, 26, 59, 63, 64, see also body
67–68, 89, 122, 123, 127, 141 “some remains” (by Joanna Wozny) 6,
reflection 3, 43–47, 60, 62, 65, 66, 76, 83, 128, 129, 136–138, 139
84, 85, 86, 89, 90, 91 92, 122; see also sound files see recordings
self-reflection; practice, reflective space of performance 14, 16–17, 22;
reflection, anticipatory see anticipation see also acoustics
reflexivity 1, 7, 43, 83 Stanley, Jason 103
rehearsal 6, 24, 26–32, 48, 87, 88, 89, 127 Stockhausen, Karlheinz 118, 119, 148n2
reputation 15, 16, 21 see also Strauss, Richard 116, 118, 119, 120
appreciation Stroppa, Marco 113, 123
research 1–7, 25, 31, 60–61, 69, 71, 91, studio see workplace
112–117, 123–124, 126, 148n1; see also subjectivisation; subjectifying 23, 30, 37,
exploring; ideas 91, 99, 100
resources of time; temporal resources subjectivity 23, 90, 91, 98, 101, 112
4, 17–19 success, artistic; success, musical 4, 24,
Reynolds, Roger 121, 123 26, 27, 49, 62, 82, 93, 97 see also
Roels, Hans 6, 62, 76 appreciation