Philosophy of the Performing Arts

92 performance and the classical paradigm This explains both the enormous number of different “works” that we ascribe to compose ...

challenges to the classical paradigm in music 93 the classical paradigm, or to think of these scores as themselves representing ...

94 performance and the classical paradigm from the supervisory presence of the composer does not show that there were no works b ...

challenges to the classical paradigm in music 95 are doing to a particular tradition – the “jazz” tradition. But it is the centr ...

96 performance and the classical paradigm Or it may be taking place in a studio for the sole and express purpose of making the r ...

challenges to the classical paradigm in music 97 as Elvis Presley, the Beatles, the Rolling Stones, Bruce Springsteen, and Led Z ...

98 performance and the classical paradigm playback. Such pieces, which he terms “purely electronic,” are constituted in a studio ...

challenges to the classical paradigm in music 99 rather than interpreting the recording, would not count as a performance of the ...

100 performance and the classical paradigm and stiffened by electronic interventions and editing” (S. Davies 2001, 35), even tho ...

challenges to the classical paradigm in music 101 in terms of the thin requirements of their sheet music. But, if all we add, in ...

102 performance and the classical paradigm 2007).^6 Although notation is now sometimes used in the teaching of gamelan musicians ...

1 Introduction: Berthold and Magda Go to the Theater We re-encounter Berthold and Magda at the local theater in a provincial tow ...

104 performance and the classical paradigm The sheer awfulness of the performance only fascinates Berthold and Magda for a littl ...

theater, dance, and literature 105 for their right performances. The second question, however, asks about the applicability of t ...

106 performance and the classical paradigm of a theatrical work, and do such performances have an artistic value that should lea ...

theater, dance, and literature 107 that obtains in classical music. But why don’t such willful departures from the requirements ...

108 performance and the classical paradigm by locating the text of the play in its historical setting. It is not obvious that we ...

theater, dance, and literature 109 To find the essence of a piece of mimetic theater, identify the main character (or characters ...

110 performance and the classical paradigm will be to identify a character with Hamlet. But what makes these traits the importan ...

theater, dance, and literature 111 why the characters act as they do – our interest in what motivates them – and in what actuall ...