The Score in the Performer’s Hands: Reading Traces of the Act of Performance as a Form of Analysis?

Journal article

Abstract:: This paper focuses on the chamber concerts led by the violinist Pierre Baillot in 1820s Paris, exploring how performers understood their role and creative agency in bringing the score to life. The archival evidence connected with the activities of Baillot’s ensemble includes an extensive library of sheet music that the players annotated in pencil. I discuss the methodological feasibility and aims of putting these traces of the act of performance under academic scrutiny.

Files:: Author Accepted Manuscript_The Score in the Performer's Hands.pdf

(Preview, Accepted manuscript, pdf, 143.7KB, Terms of use)

Language:: English
Keywords:: chamber music

ontology of notation

handwritten annotations

SBTMR

early nineteenth-century performance ideology

analysis of performance

creative agency
Pubs id:: pubs:987574
UUID:: uuid:c37e516e-0f67-4240-a1ba-503d91ce3d0d
Local pid:: pubs:987574
Source identifiers:: 987574
Deposit date:: 2019-04-05
ARK identifier:: ark:/29072/ora_c37e516e0f674240a1ba503d91ce3d0d

Copyright holder:: Society for Music Theory
Notes:: Copyright © 2016 Society for Music Theory. This is the accepted manuscript version of the article. The final version is available online from Society for Music Theory at: https://doi.org/10.30535/mto.22.2.8

Licence:: Terms and Conditions of Use for Oxford University Research Archive

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