Annelies Fryberger
Biographic Data
| ID | 1379492 |
|---|---|
| NAME | Annelies Fryberger |
| GIVEN NAMES | Annelies |
| FAMILY NAME | Fryberger |
| SIGNATURE | FRYBERGER A |
| AFFILIATIONS | Centre National de la Recherche Scientifique |
| ORCID | 0000-0002-0565-4201 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Newmusic #Soundart
But If It’s Not Music, What Is It? Defining Interstitial Artistic Practices
We often think of art as structured in art worlds. But what lies between art worlds? Do we find spaces of undefined practices, or are interstitial practices also clearly defined? For this text, we interviewed 11 French artists with sound-based practices who situate themselves in the spaces where music overlaps with the visual arts, instrument building, performance art, and poetry. How do these artists define themselves, given that the available l…
Introduction. Art + son = art sonore
The fuzzy middle. Uncertainty, indifference, and disagreement in the evaluation of contemporary art music
Spanish Composers within and without Borders
Ma responsabilité, c’est d’oser. » Un entretien avec Georgina Born
In this interview, Georgina Born retraces the origins of two of her major ethnographic studies, at Ircam and the BBC, and delves into how she developed her specific, interdisciplinary methodology. She makes a convincing case for reading outside disciplinary borders, and discusses how her research has changed as she has become more established. Her critics are addressed, and the interview ends with a glance to future projects which aim to bring to…
Risky Gifts and Uncertain Business
What are the risks involved in commissioning new music? Through interviews with 24 commissioners, performers, and composers based in Canada, the us , Australia, and France, we develop a model of the different types of risk encountered during the commissioning process. Despite providing the money for a commission, we found that commissioners are least exposed to financial risk as it is classically defined; commissioning fees really do behave like …
L’évaluation par les pairs en musique contemporaine en France et aux États-Unis
Cet article a pour objet l’évaluation par les pairs en musique contemporaine, notamment au sein de deux institutions : le ministère de la Culture (France) et New Music usa (États-Unis). Nous nous arrêtons longuement sur une figure d’évaluateur que nous appelons « l’intermédiaire » (d’après le travail du sociologue Ronald S. Burt), typifiée par ses liens avec plusieurs réseaux de créateurs plutôt que par son ancrage dans un seul réseau cohésif. Ce…
L’évaluation par les pairs en musique contemporaine en France et aux États-Unis
Cet article a pour objet l’évaluation par les pairs en musique contemporaine, notamment au sein de deux institutions : le ministère de la Culture (France) et New Music usa (États-Unis). Nous nous arrêtons longuement sur une figure d’évaluateur que nous appelons « l’intermédiaire » (d’après le travail du sociologue Ronald S. Burt), typifiée par ses liens avec plusieurs réseaux de créateurs plutôt que par son ancrage dans un seul réseau cohésif. Ce…
The fuzzy middle. Uncertainty, indifference, and disagreement in the evaluation of contemporary art music
Ma responsabilité, c’est d’oser. » Un entretien avec Georgina Born
In this interview, Georgina Born retraces the origins of two of her major ethnographic studies, at Ircam and the BBC, and delves into how she developed her specific, interdisciplinary methodology. She makes a convincing case for reading outside disciplinary borders, and discusses how her research has changed as she has become more established. Her critics are addressed, and the interview ends with a glance to future projects which aim to bring to…
Risky Gifts and Uncertain Business
What are the risks involved in commissioning new music? Through interviews with 24 commissioners, performers, and composers based in Canada, the us , Australia, and France, we develop a model of the different types of risk encountered during the commissioning process. Despite providing the money for a commission, we found that commissioners are least exposed to financial risk as it is classically defined; commissioning fees really do behave like …
L’évaluation par les pairs en musique contemporaine en France et aux États-Unis
Cet article a pour objet l’évaluation par les pairs en musique contemporaine, notamment au sein de deux institutions : le ministère de la Culture (France) et New Music usa (États-Unis). Nous nous arrêtons longuement sur une figure d’évaluateur que nous appelons « l’intermédiaire » (d’après le travail du sociologue Ronald S. Burt), typifiée par ses liens avec plusieurs réseaux de créateurs plutôt que par son ancrage dans un seul réseau cohésif. Ce…
Spanish Composers within and without Borders
But If It’s Not Music, What Is It? Defining Interstitial Artistic Practices
We often think of art as structured in art worlds. But what lies between art worlds? Do we find spaces of undefined practices, or are interstitial practices also clearly defined? For this text, we interviewed 11 French artists with sound-based practices who situate themselves in the spaces where music overlaps with the visual arts, instrument building, performance art, and poetry. How do these artists define themselves, given that the available l…
Introduction. Art + son = art sonore
The fuzzy middle. Uncertainty, indifference, and disagreement in the evaluation of contemporary art music
Newmusic #Soundart
Art (6 works) · Sociology (5 works) · Political science (4 works) · Art history (3 works) · Humanities (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Anthropology (2 works) · Computer Science (2 works) · Cultural Identity and Heritage (2 works)