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. Musical Performance: A Philosophical Study considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored. |
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 | |
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Common terms and phrases
accept achieve acoustic activities Aesthetics and Art agency agent art-making artistic artworks audience Authentic Performance C-model causal Chaconne challenge Chapter chess competition composer computer art Computer Music Concept concrete arts Consider context conventions count craft tradition creative creditworthiness display distinct distinguish electronic electronic music example Experimental Music expressive fancy-free fixity formal found sound function Guild human improvisation instance instantiation instruments integrity intention interpretive involves Journal of Aesthetics judges Keyboard Instruments Levinson listeners luthier machine mance mastery means modulator music-making Musical Improvisation musical performance musical sound musicians musique concrète notated one's Ontology output Oxford performance communities performer's Philosophy physical piano pieces player player piano playing practice present primary causation primary crafts primary skill proficiency readymades regarding rehearsal repertoire requires result ritual role score serializable sound sequence sounders standards structure synthesizer theory tion typically underdetermination University Press violin violinist virtuosity
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