Year: 2024
Type: article
Abstract: We experience the realms of performing and composing as intimately linked in many areas of music-making today, as can be gleaned from musical interactions and activities such as 'collaborative composition', 'distributed creativity', improvisatory performance, interdisciplinary artistic research, and many others.But in the mid-to-late 19th century and, in fact, until recently, performing and composing artists, respectively, inhabited relatively separate spheres.Whereas the 'l'art pour l'art' ideology had composers and their works squarely separated from any social values and utilitarian functions (be they pedagogical, moral, or political), and also from the performer, whose job it was to disappear behind the composition, intersections between these two realms can generate all sorts of new understandings.Nicholas Cook (2013) and Mine Dogȃntan-Dack (2021) have shown just how 'erased' the performer was in twentieth-century musicological discourses. 1 Indeed, the expertise and lived experience of performers just did not hold much weight in that century, during which performance ideologies circled above all else around hierarchical paradigms such as Urtext and Werktreue.Only with the recent 'performative turn' 2 or Thanks to the reviewers for their helpful suggestions during the peer review process.
Source: Nineteenth-Century Music Review
Language: English
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: bronze
OpenAlex ID: W4405790017