Musicological neglect of performance and performers has deep philosophical roots, reinforced by the philological turn of nineteenth-century culture as well as by twentieth-century modernism: thinking in musicology, aesthetics, and copyright law have all been conditioned by what the chapter calls the paradigm of reproduction. Following a historical exploration of the textualist assumptions underlying present-day thinking about musical performance, the chapter contrasts the performative turn that swept through a range of humanities and social sciences in the final decades of the twentieth century with developments in music and musicology during the same period, giving particular attention to historically informed performance (HIP). The chapter concludes with an outline of psychological approaches to performance during the same period: these embodied many of the traditional assumptions referred to and were closely related to contemporaneous developments in music theory.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.