This study investigates the composer-performer relationship in terms of the site of responsibility for the aesthetic features of the musical performance. It considers the extent to which the performer's view of that relationship affects the performance itself. This is accomplished by examining four focal points: the composer-performer relationship; composers' intentions; Nelson Goodman's account of notation, expression and style; and the work--including the writings--of Canadian pianist Glenn Gould. ;The composer is seen by some as predominantly responsible for the performance, with the (...) performer's role as that of fulfilling the composer's intentions. A contrasting perspective, cognizant of the significance of interpretive decisions, situates the performer as co-creator. ;Pivotal in this debate are the discrepancies surrounding the role of composers' intentions. Critical discussion of the Early Music Movement, considered here as a paradigm of historical authenticity, distinguishes between its proponents, for whom composers' intentions are authoritative, and its opponents, who perceive that historical authenticity, even if attainable, would be insufficient to ensure a work's aesthetic merit. ;This divergence derives from the fact that the musical performance is underdetermined by Western musical notation. Nelson Goodman addresses this by assigning to the musical score the function of identification: Any performance which complies with the score constitutes an instance of the work. Moreover, Goodman's account of expression and style recognizes the score's non-notational elements as instrumental to the aesthetic qualities of the performance. ;Goodman's theoretical account is then applied to the work of Glenn Gould. First, Gould's consideration of the performer as co-creator is identified as instrumental in determining the aesthetic features of his performances. The interpretive autonomy afforded by his perspective, it is argued, led to the development of a performance and compositional style characterized by a predilection for a manifestly contrapuntal rather than hierarchical structure. Gould's performances and compositions are shown to express views of an ethical as well as aesthetic nature, contributing to what Goodman terms "worldmaking," affirming the symbolic function of music. ;In conclusion, the performer's view of the performer-composer relationship is fundamental and determinant in defining the aesthetic features of the musical performance. (shrink)

This paper argues that contemporary analytic philosophy of music has characterized historically informed performance practice as compliance-focused, impersonal, and work-centered. The first part of the paper gathers evidence in support of this claim from the works of Julian Dodd, Peter Kivy, James O. Young, Aron Edidin, and Stephen Davies. In the second part of the paper, I reject this received view. Evidence from actual performance practice, as well as from the practitioners’ reflection on their activity, belies the received view outlined (...) in the first part of the paper. I conclude by drawing three methodological lessons from the oversights I attempt to rectify. (shrink)