{"id":87,"date":"2022-06-01T08:00:16","date_gmt":"2022-06-01T08:00:16","guid":{"rendered":"http:\/\/interpretation.dk\/?page_id=87"},"modified":"2022-10-30T10:32:07","modified_gmt":"2022-10-30T10:32:07","slug":"important-literature-on-interpretation","status":"publish","type":"page","link":"https:\/\/interpretation.dk\/index.php\/important-literature-on-interpretation\/","title":{"rendered":"Literature"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">A minor selection of relevant literature on interpretation<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Sontag, S. (1966).&nbsp;<em>Against interpretation: And other essays<\/em>. Farrar, Straus and Giroux.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Davies, S. (1988). Transcription, authenticity and performance.&nbsp;<em>The British Journal of Aesthetics<\/em>,&nbsp;<em>28<\/em>(3), 216-227.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Goehr, L. (1992).&nbsp;<em>The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music: An Essay in the Philosophy of Music<\/em>. Clarendon Press.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Thom, P. (2006). Toward a broad understanding of musical interpretation.&nbsp;<em>Revue internationale de philosophie<\/em>, (4), 437-452.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Silverman, M. (2007). Musical interpretation: philosophical and practical issues.&nbsp;<em>International journal of music education<\/em>,&nbsp;<em>25<\/em>(2), 101-117.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Thom, P. (2007).&nbsp;<em>The musician as interpreter<\/em>. Penn State Press.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Sung, A., &amp; Fabian, D. (2011). Variety in performance: A comparative analysis of recorded performances of Bach&#8217;s sixth suite for solo cello from 1961 to 1998.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Tsay, C. J. (2013). Sight over sound in the judgment of music performance.&nbsp;<em>Proceedings of the National Academy of Sciences<\/em>,&nbsp;<em>110<\/em>(36), 14580-14585.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Cook, N. (2013).&nbsp;<em>Beyond the score: Music as performance<\/em>. Oxford University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">D\u2019errico, L. (2018). <a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/29716\">Powers of Divergence<\/a>. Leuven University Press<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Leech-Wilkinson, D. (2020). <a href=\"https:\/\/challengingperformance.com\/the-book\/\">Challenging performance: Classical music performance norms and how to escape them.<\/a><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Taylor, A. (2020). Death of the Composer? Making Meanings from Musical Performance.&nbsp;<em>Music &amp; Practice<\/em>,&nbsp;<em>6<\/em>.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Blier-Carruthers, A. (2020). The Problem of Perfection in Classical Recording: The Performer\u2019s Perspective.&nbsp;<em>The Musical Quarterly<\/em>,&nbsp;<em>103<\/em>(1-2), 184-236.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">D&#8217;Errico, L. (2021). <a href=\"https:\/\/books.google.dk\/books?hl=da&amp;lr=lang_en&amp;id=wCQGEAAAQBAJ&amp;oi=fnd&amp;pg=PA357&amp;dq=Lucia+D%27Errico&amp;ots=2Lhd88d791&amp;sig=kGq6i0Iu9d5VAQ2SKqyDH1DDpHs&amp;redir_esc=y#v=onepage&amp;q=Lucia%20D'Errico&amp;f=false\">Sound beyond Representation: Experimental Performance Practices in Music.\u00a0<\/a><em>The Bloomsbury Handbook of Sonic Methodologies<\/em>, 357-367.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u00f6ndahl, T. (2022). Den klingande verklighetens foranderlighet, G\u00f6teborgs Universitet<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A minor selection of relevant literature on interpretation Sontag, S. (1966).&nbsp;Against interpretation: And other essays. Farrar, Straus and Giroux. Davies, S. (1988). Transcription, authenticity and performance.&nbsp;The British Journal of Aesthetics,&nbsp;28(3), 216-227. Goehr, L. (1992).&nbsp;The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music: An Essay in the Philosophy of Music. Clarendon Press. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-87","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/pages\/87","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/comments?post=87"}],"version-history":[{"count":13,"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/pages\/87\/revisions"}],"predecessor-version":[{"id":345,"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/pages\/87\/revisions\/345"}],"wp:attachment":[{"href":"https:\/\/interpretation.dk\/index.php\/wp-json\/wp\/v2\/media?parent=87"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}