Documents found
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1621.
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1622.
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1627.
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1628.More information
Catherine Perrin first discusses the challenges a performer faces when interpreting a contemporary work. Working with the composer can help to inspire the performer as well as to compensate for the lack of an existing performance tradition. Contemporary repertoire is also beneficial for the development of a performer's imagination and analytical reflexes, which can in turn rejuvenate one's approach to older works. Jean Lesage speaks of the importance of notation, which provides a degree of intellectual security for the performer—it serves as a solid foundation over which the performer's imagination can flourish. He suggests that the performer must always be conscious of the musical form, since it is through form that the compositional plan is communicated to the audience. For Lesage, there is no ideal performance. In fact, this is the very appeal of writing instrumental music: a work renews itself with each new iteration. To this end, he cites the example of Glenn Gould as an "extreme" performer. Having been a performer himself, Lesage cannot conceive of music without conceiving of performance. The article concludes with the idea that the composer's growth is highly dependent on the very fact that his works are performed.
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1630.