Musical Performance: A Philosophical StudyMost music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. |
Contents
Acknowledgements | vii |
Central themes | 1 |
Performance and the aesthetics of music | 2 |
The contents surveyed | 3 |
Unfinished business | 7 |
Central aspects of performance | 9 |
A model of musical performance | 11 |
Preliminary groundclearing | 12 |
Is performance necessary? | 90 |
performing as storytelling | 91 |
Computers readymades and artistic agency | 97 |
indirect causation | 98 |
readymades | 104 |
Experiments with musical agency | 109 |
Preliminaries | 110 |
Quasireadymade experimental performance | 111 |
Constituents of performance | 13 |
Taking stock | 49 |
Skills and Guilds | 52 |
Skills primary causes and primary crafts | 53 |
The Guild tradition | 61 |
Challenges to the model | 79 |
Performances and musical works | 81 |
Improvisation and scoreguided playing | 83 |
Fidelity musicality and instantiation | 84 |
The fixity of the work | 85 |
Underdetermination | 86 |
Musical instantiation as invited variety | 88 |
Artists programs and performance | 125 |
The simulation setting | 126 |
How the simulators work | 128 |
Performance and the artworld | 130 |
Blindfold tests | 133 |
How competitions are judged | 135 |
Performers as persons | 138 |
Epilogue | 143 |
Notes | 145 |
159 | |
166 | |