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Practice-as-Research in Music Performance
Practice-as-research in music performance
MineDoğantan-Dack
Introduction: Issues in Contemporary Performance Studies

Even though sound recordings have been available for over 120 years1, evolving from the wax phonograph cylinder through the shellac disc to the digital MP3 to become ubiquitous artefacts in our contemporary culture, their acceptance as valid documents for musicological research did not happen early on and naturally during the twentieth century. Since its nineteenth-century beginnings as an academic discipline rooted in German philology and hermeneutics, musicology has been dominated by a textual approach to knowledge production and presentation such that its primary source material, namely the musical score, has been conceptualised as a ‘final, fixed, immortal text’ (Bowen, 1999: 429), the meanings of which can be revealed through the reading and deciphering ...

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