Philosophy of the Performing Arts

72 performance and the classical paradigm concerning correctness (Wolterstorff 1975, 332).^2 Often they simply assume that perfo ...

authenticity in musical performance 73 Leonardo is one from the hand of that artist (at least in its most artisti- cally signifi ...

74 performance and the classical paradigm “historical performance” movement has sought to present musical works in ways that are ...

authenticity in musical performance 75 performance spaces in which it would originally have been performed. Or, it might be said ...

76 performance and the classical paradigm level intentions should trump his or her low level intentions, since the latter reflec ...

authenticity in musical performance 77 Kivy suggests that even the greatest composers may not always know best how their pieces ...

78 performance and the classical paradigm specified had other resources been available. The concern, in other words, is with the ...

authenticity in musical performance 79 former must be that it is instrumental in bringing about the latter, and that the latter ...

80 performance and the classical paradigm answers both of these points negatively. First, he argues that Young and Kivy’s object ...

authenticity in musical performance 81 historically authentic performance must rest upon its “aesthetic” payoff by suggesting th ...

82 performance and the classical paradigm of performative practice, would execute various passages in the score. In such cases, ...

authenticity in musical performance 83 1990a, 395). He further relates this to the idea that “expressive content in music ... is ...

84 performance and the classical paradigm representing what the composer prescribes, and the performance of the prescribed work ...

authenticity in musical performance 85 way, their performances can exhibit freedom, creativity, and other perfor- mative values. ...

86 performance and the classical paradigm See Edidin 1991, 404. The most extended philosophical examination of the issues is in ...

1 Introduction: The Classical Paradigm in the Performing Arts In the last three chapters, we have examined the classical paradig ...

88 performance and the classical paradigm through the exercise of their creative freedom. It is because the performance of a per ...

challenges to the classical paradigm in music 89 explained in terms of the paradigm, or in terms of some alternative model of ar ...

90 performance and the classical paradigm sequence of sounds; in the case of dance, it is the production of a sequence of bodily ...

challenges to the classical paradigm in music 91 created after 1750, and non-instrumentalism for most works created prior to 175 ...