Challenging Performance
The Book
Preface and menu
Part 1: Introduction 1
2 The status quo
3 Performance changes
4 Music identity
5 The music itself
6 Further delusions
6.1 Naturalised beliefs
6.2 You need to know
6.3 You must play structure
6.4 Current are best
6.5 Natural musicianship
6.6 Performances are unalike
6.7 Historical is best
6.8 Texts document sounds
6.9 Everything is in the score
6.10 A work is greater
6.11 Limited interpretations
6.12 Composer knows best
6.13 Composers’ intentions known
6.14 The inaudible performer
6.15 Composers are listening
6.16 Composers are gods
6.17 Works
6.18 So music is…
6.19 Why these delusions?
Part 2: Policing performance 7
7.1 Teachers and State
7.2 Childhood lessons
7.3 Exam boards
7.4 Conservatoire 1
7.5 Conservatoire 2
7.6 Virtuoso class
7.7 Micro schools
7.8 Competitions
7.9 Alternatives
8 Musicology
9 / 9.1 Criticism
9.2 Reviews 1
9.3 Reviews 2
9.4 Social media
9.5 Risk
9.6 Lack of debate
10 Normativities
11/11.1 Obligations to the dead
11.2 Philosophical obligations
11.3 Ethical obligations
12.1 Policing
12.2 Utopia
12.3 Self-policing
13 Lack of agency
14 Ill-health
Part 3: Allowing Creativity 18.1
18.2 Theatre
19.1 Ethics 1
19.2 Ethics 2
20 Why and How?
21 Historical exx
23 Examples
23.1 New Moon
Interviews and Recordings
Iva Bittová and Dorothea Kellerová
Mine Doğantan-Dack
Abigail Dolan
David Dolan
Diana Gilchrist
Shelley Katz
Patricia Kopatchinskaja
Daniel Leech-Wilkinson
Challenging Performance: The Book
What’s Wrong with Classical Music?
Bobby Mitchell
Aisha Orazbayeva
Anna Scott
Robert Toft
Contact the project
Contribute a performance
‘Dido & Belinda’
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Interviews and recordings
Iva Bittová and Dorothea Kellerová
Mine Doğantan-Dack
Abigail Dolan
David Dolan
Diana Gilchrist
Shelley Katz
Patricia Kopatchinskaja
Daniel Leech-Wilkinson
Bobby Mitchell
Aisha Orazbayeva
Anna Scott
Robert Toft
Features
Challenging Performance: The Book
‘Dido & Belinda’
What’s Wrong with Classical Music?
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