‘Liminal’, from the Latin limen, denotes both thresholds and, curiously, the home. Since its original use by the anthropologist Arnold van Gennep in 1909 to label the central stage in a transformational rite of passage, the term has been used in very many contexts: from writings concerning sociology within both local and global contexts to an internet aesthetic of eerie empty spaces, a sort of loose understanding of modern spiritualities and plenty of art gallery labels.

The recent new edition of Helmut Lachenmann's Salut für Caudwell (1977) published in Breitkopf & Härtel (2020) by guitarist-researcher Seth Josel has renewed public attention on this seminal work from contemporary guitar literature. As a performer myself, I first performed the piece in 2008 (its Chilean premiere) and have recently premiered the new edition. Performing this piece in a concert situation is always a big event for both performers and listeners; the score seems to age well and its multivalence urges a rethink about how to approach it today. The purpose of this article is threefold: to consider the contribution of the new edition, to examine the relation of notation and performance through the analysis of selected recordings and to interrogate the possible futures for Salut, given recent developments in research into contemporary performing practice.

This introductory article defines somatic music/ology as music that emphasises and reflects on its embodied nature and an associated theoretical discourse that addresses this aspect. It further traces the genealogy of this concept to the convergence of different intellectual and artistic currents from the mid twentieth century, including the phenomenology of Edmund Husserl and Maurice Merleau-Ponty, ecological psychology associated with James J. Gibson, performance- and body-oriented musicology represented by Roland Barthes and Carolyn Abbate and later developments such as 4E cognition as well as the experimental music theatre emerging from the 1960s. Finally, it introduces the various contributions to the issue.

This is the transcript of an interview with Glasgow-based Australian composer Dr Jane Stanley. The interviewer is Dr Judith Bishop, an Australian poet and lyricist whose words appear in two of the works discussed: ‘14 Weeks’ (from Interval (UQP, 2018) and ‘The Indifferent’ (from Event (Salt Publishing UK, 2007)). The interview was recorded at the University of Glasgow on 29 May 2023 and edited for clarity, length and concision. It was recorded a day after the world premiere of Jane Stanley's 14 Weeks at the Glasgow School of Art Choir Composeher concert in City Halls, Glasgow. In response to a recent survey which revealed huge gender inequalities in the granting of music commissions, Composeher had commissioned seven female composers to write choral works of around ten minutes, of which 14 Weeks was one. The interview ranges widely, from the composer's textural style to her creative process, and touches on her forthcoming composer portrait album, to be released by Delphian Records in 2024.

This article examines the relationship between notation and improvisation and the ways in which notational representation and prescription are extended by para-notation in the work and practice of the improvisers Sarah Brand and Moss Freed and in the work of ethnomusicologist Floris Schuiling, in particular through his research into the Dutch collective, the Instant Composers Pool (ICP). Sarah Brand analyses her own improvisation transcriptions using concepts derived from music therapy to help sharpen awareness for future improvisation. Moss Freed's Micromotives features his own variant of conduction, developed through reflexive and cyclic processes of notation, rehearsals and discussion. Floris Schuiling's ethnomusicological research into the ICP reveals how notation can be used to generate creative challenges, not only for the members of the collective but for musicians in general. A series of interviews reveals that these musicians use notation to render processes visible and to build and develop communities and cultures.

Beginning with Soliloquy I for solo violin in 1998, the author has been engaged in creating a series of highly virtuosic solo pieces for various instruments. Each piece presents a different character, yet all are framed by a single protagonist who narrates in different languages.

This article focuses particularly on analyses of Soliloquies II, VI, VII, VIII and IX, but also offers a discussion of the genesis of and processes involved in the whole cycle, which now embraces instruments from every section of the orchestra; the most recent, Soliloquy IX, for solo trumpet, was written in 2022. The suitability of the title Soliloquy is also considered; this article in turn could itself be considered a soliloquy.

In Homer's The Odyssey, Odysseus and his men are on their way home to Ithaca when they land on a remote island inhabited by lotus-eaters. The locals share their indolent-making lotus plants with the Greeks, such that the troops’ homeward journey is disrupted and they find themselves in a state of limbo. Identities, both individual and communal, become entangled and blurred. Beat Furrer takes these sorts of uncertainties of self as inspiration in his Lotófagos (2007) – that is, Lotus-eaters – scored for soprano and double bass, which sets José Ángel Valente's poem of the same name. Drawing on Gilles Deleuze's conception of bodies, this article argues that the identity of an elusive but persistent collective subject in Valente's text can be found within the difference between the two performers’ bodies in Furrer's setting. The pair's movements weave in and out of each other, moving through spectres of each other's material, fleetingly suggesting cohesion through tension before jettisoning this for what contextually appears as relief. As such, the series of surreptitious vignettes presents a ‘conatus’ of the piece defined by tension, emulation and transience; Furrer's Lotófagos creates space for Valente's mysterious subject to be presented as the immanence of forces between two performing bodies.

Sonic Bothy is an inclusive experimental and new-music organisation with an ensemble of musicians with and without disabilities and neurodiversities. This article considers their audiovisual piece Verbaaaaatim (2020–21), its form marked by the context of its development and composition during the COVID-19 pandemic, using a set of interlayered perspectives that mirror the formal layers of the piece. Recorded in a single take, it comprises instrumental sounds, spoken words, written words, static and dynamic graphics and videos of the performers, aligned so that the piece seems consistently to flow onwards, although it is not always clear which element impels its forward motion. The article considers, in particular, Verbaaaaatim's presentation of modes of embodied conviviality between its performers, the ways these find resonance in wider histories of experimental music and the ways in which its elements can be understood in an ecological framework as ‘sound actions’.

This article examines how practice-based researchers in a transcontinental intensive residency transformed their practice and developed their skills through composing digital scores. Four researchers from an Australian university undertook an intensive residency in Hamburg, focused on creating and performing new digital scores. An analytical study of this residency was conducted, centred around each researcher's connection to the materials, experiences of flow, changes in digital musicianship and transformations. The study revealed both challenges and illuminating experiences for the researchers. Each composition went through significant changes during, before and after the transcontinental project, resulting in changes to the digital scores, directions for interpretation and the researchers’ established artistic practices. Exposure to new environments and facilities allowed them to develop fresh approaches to collaboration and technology. Engaging with digital scores led to new skills being developed and new collaborative projects with each other and international musicians. The intensive and transcontinental nature of the project resulted in significant developments to the skills and approaches of the four researchers.

The title of Beat Furrer's nuun, for two pianos and chamber orchestra (1996), invites two principal readings. As a pun on the German ‘nun’, meaning ‘now’, it invokes a presentist mode of musical thinking, whereby each moment is heard to exist in a continuous state of development. It also invokes myth, as suggested by Wolfgang Fuhrmann, in its palindromic reflection of the name of the Breton goddess Nu, who, in medieval mysticism, ‘had the power to let time stand still’. In this article, I use Byron Almén's 2017 theory of musical narrative as the basis for a narrative analysis of nuun, aiming to reconcile these allusions with the aesthetics and formal processes of the piece, as well as Furrer's documented preoccupation with notions of storytelling in music. In doing so, I expand upon the hermeneutic readings of the piece proposed thus far, establish connections with textural archetypes in Furrer's oeuvre, both pioneered by and preceding nuun, and consider lines of dialogue with broader discourse on time in contemporary music.

In this collaborative account of Iddon's Sapindales, the authors recount how their experiences of live and virtual clarinet sounds and environmental sounds combine in varied ways. By focusing on relationships among sonic layers, the authors emphasise the dynamic interplay of live and recorded performance, music and environment, the real and the virtual, the abstract and the concrete. Each relationship involves mediation and ambiguity, with elements that alternatively split apart or join together. The listening outcomes that we describe repeatedly highlight a positional swing between subject and object, as the authors reach across explanatory modes, drawing on phenomenology, musicology, psychoanalysis and ecological psychology, among others. We aim to capture the process of aesthetic listening, a process that is live, interactive, constructive, imaginative.

This article considers the possibility that the emphasis we place on composers developing an artistic voice might be unhelpful for making good pieces. I look at what constitutes an artistic voice and consider pros and cons for having a voice. As an alternative I examine strengths and weaknesses for being a capricious composer, which I define as a willingness to explore different compositional avenues without concern for constructing a consistent body of work. My objective is not to discredit composers who have a strong voice, but rather to loosen the grip of the single-voiced model that dominates the value system of new music.