{"product_id":"grounds-for-possible-music","title":"Grounds for Possible Music","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGender, voice, language, and identity in \u003c\/span\u003e\u003cspan class=\"cherche\"\u003emusic\u003c\/span\u003e\u003cspan\u003eal composition and experimental sound practices.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow do we get to imagine the \u003c\/span\u003e\u003cspan class=\"cherche\"\u003emusic\u003c\/span\u003e\u003cspan\u003e we make? Where and how is it grounded? What is the relationship between the art and its maker, and what and who does \u003c\/span\u003e\u003cspan class=\"cherche\"\u003emusic\u003c\/span\u003e\u003cspan\u003e represent?\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGender, voice, language, and identity are four important notions \u003c\/span\u003e\u003cspan class=\"cherche\"\u003efor\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"cherche\"\u003emusic\u003c\/span\u003e\u003cspan\u003eal creation, \u003c\/span\u003e\u003cspan class=\"cherche\"\u003efor\u003c\/span\u003e\u003cspan\u003e the shaping of a canon, and \u003c\/span\u003e\u003cspan class=\"cherche\"\u003efor\u003c\/span\u003e\u003cspan\u003e the interactions in the field. All four notions are strongly contextual and carry an inherent sense of paradigm and otherness. Other and self are defined via orientation and history, expressed via voice, and confirmed in language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this publication, these four core notions serve as a set of lenses permitting different perspectives on one another. However much the field of the sounding arts might pretend to be tangential to such affections, they provide important \u003c\/span\u003e\u003cspan class=\"cherche\"\u003egrounds\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"cherche\"\u003efor\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"cherche\"\u003emusic\u003c\/span\u003e\u003cspan\u003eal creation.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSome twenty artists have created a variety of outputs—as different in \u003c\/span\u003e\u003cspan class=\"cherche\"\u003efor\u003c\/span\u003e\u003cspan\u003em, strategies, approach, and language, as they are rooted in a variety of sub-fields within the sounding arts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJulia Eckhardt is a \u003c\/span\u003e\u003cspan class=\"cherche\"\u003emusic\u003c\/span\u003e\u003cspan\u003eian and curator in the field of the sounding arts. She is founding member and artistic director of Q-O2 workspace in Brussels. As a viola player, she has been involved in various collaborations with composers and improvisers, such as Phill Niblock, Pauline Oliveros, Stevie Wishart, Jennifer Walshe, Wandelweiser-composers, Christian Wolff, Antony Coleman and many of the young generation. She has taught and lectured at art institutes in Leuven and Brussels. Eckhardt is co-author of The Second Sound – Conversations on Gender and \u003c\/span\u003e\u003cspan class=\"cherche\"\u003eMusic\u003c\/span\u003e\u003cspan\u003e, together with Leen De Graeve.\u003c\/span\u003e\u003c\/p\u003e","brand":"Manic","offers":[{"title":"Default Title","offer_id":47690392207618,"sku":null,"price":44.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/5490\/1506\/files\/GroundsforPossibleMusic.png?v=1777004889","url":"https:\/\/church.xyz\/products\/grounds-for-possible-music","provider":"CHURCH","version":"1.0","type":"link"}