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- W2075202506 abstract "Musical performance is a fundamental part of human existence, yet even the most experienced performer, teacher or scholar can fail to appreciate what lies behind it. It is well known that a performance in public usually represents untold hours – indeed many years – of learning and preparation, but how interpretations are put together, on what basis and with what effect may be less widely understood. ... For too long musicians have had to resort to tradition and intuition for the solutions, and important as those undeniably are, they are not always enough. The burgeoning academic literature on performance from recent years has offered little in the way of practical assistance: targeted at a highly specialized readership and generally written in somewhat impenetrable language, it has tended to neglect the concerns of performers themselves despite the need for clear and engaging writing on topics such as practice, memorization, stage fright, analyzing music for performance and the modern performer’s historical ‘responsibilities’. John Rink, Musical Performance" @default.
- W2075202506 created "2016-06-24" @default.
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- W2075202506 date "2011-10-01" @default.
- W2075202506 modified "2023-09-25" @default.
- W2075202506 title "The Performer's Voice and 'His Dualistic Soul': Hindemith Reconsidered" @default.
- W2075202506 doi "https://doi.org/10.1142/9781848168824_0002" @default.
- W2075202506 hasPublicationYear "2011" @default.
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