To come…
Ch. 16 recording, Ch. 17 management, Ch. 23 more examples
and in Part 4: Related essays
music as infantilisation, music as religion, music as another person, music and attachment
Challenging Performance:
Classical Music Performance Norms and How to Escape Them
by Daniel Leech-Wilkinson
Contents
PART 1: Performance Style and What Follows
- Preface
- 1 Introduction and examples
- 2 The fabulous status quo
- 3 Performance changes over time
- 4 Performing identity
- 5 The actual music, the music itself
- 6 Further delusions: Contents
- 6.1 Introduction: Naturalised beliefs
- 6.2 You need to know about music
- 6.3 You must play structure
- 6.4 Current performances are best
- 6.5 Performing natural musicianship
- 6.6 Performers and performances are unalike
- 6.7 Music is best performed ‘historically’
- 6.8 Texts document sounds
- 6.9 Everything is in the score
- 6.10 A work is greater than any performance
- 6.11 Scores have limited interpretations
- 6.12 The composer knows best
- 6.13 Composers’ intentions are known
- 6.14 The performer should be inaudible
- 6.15 Composers are listening
- 6.16 Composers are gods
- 6.17 Works
- 6.18 So music is…
- 6.19 Conclusion: Why these delusions?