86 performance and the classical paradigm
- See Edidin 1991, 404.
- The most extended philosophical examination of the issues is in Kivy 1995.
An earlier book on the subject is Leppard 1988. Kenyon 1988 is a specialized
collection of papers by philosophers and musicologists. A lively exchange on
the subject can be found in S. Davies 1987, 1988, and Young 1988. Other
papers include: Baugh 1988; Goehr 1989; Edidin 1991; and Rubidge 1996.
A critical review of the literature can be found in S. Davies 2001, ch. 5, where
Davies also further develops the position defended in his earlier papers. - See Kivy 1995, chs. 5 and 9; Edidin 1991, 415.
- See Kivy 1995, ch. 1, for these distinctions. See also Young 1988 and Edidin
1991. - For discussion of the relevance of Dipert’s paper for issues concerning
authentic performance, see Edidin 1991, 413–415; Kivy 1995, 43–45;
S. Davies 2001, 231–234. - See S. Davies 2001, 234–237, for a defense of this claim, See also the
discussion of “sensible authenticity” below. - We shall return below to Kivy’s contention that the “aesthetic payoff ” of a
performance of a performable work is the proper criterion for evaluating that
performance. - For a more detailed defense and response to criticisms, see S. Davies 2001, ch. 5.
- See Baugh 1988, 482: “The original world of the work vanishes with the first
public.” - Stephen Davies has made similar claims in more recent papers, where he
describes musical performance as the bodying forth of human action. See, for
example, his 2008, 369–371. - See D. Davies 2004, 218, for a tentative endorsement of this proposal.