Music Performers' Lived Experiences

The two volumes on Music Performers' Lived Experiences seeks to widen this research area through close investigations of a variety of rich, complex and nuanced experiences classical music performers have qua performers, as they interact with musical scores, instruments, performance traditions, other musicking individuals, wider artistic and cultural discourses, norms and beliefs. The two volumes aim to "humanise" music performers and contribute towards shaping a more performer-centred discipline of Music Performance Studies. The first volume, Music Performers' Lived Experiences: Theory, Method, Interpretation, brings together internationally renowned scholars, who capture and scrutinise, through a variety of methods, a wide range of experiences performers have-as well as the personally meaningful lived experience narratives performers construct-presenting vivid portraits of music performers as artists situated in unique socio-cultural, historical, embodied and discursive contexts. The topics discussed include the construction of the idea of "the composer" from lived experiences of performing, manifestations of wisdom in the ways performers make sense of their experiences, joys of sight-reading, performer agency, lived experience as the basis of performance analysis, emotional labour of working with controversial repertoire, performance anxiety dreams of music performers, experience of working across musical genres, the nature of intersubjective experiences in music-making, absorption, and subjective bodily sensations in performance. Readers will come away from the book with fresh insights about and an enhanced understanding of the infinitely rich lifeworld of music performers.

Mine Dogantan-Dack is a musicologist and concert pianist. Mine has published many articles on the phenomenology of live performing, dynamics of chamber music performance, pianistic touch, methodology in artistic research, history of music theory, and several edited books including Recorded Music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (2015), Music and Sonic Art (2018), Rethinking the Musical Instrument (2022) and The Chamber Musician in the Twenty-First Century (2022). Mine performs as a soloist and chamber musician, and has given performances of most of the major piano concerti with various orchestras. She taught at the University of Oxford, and was Professor of Music Performance Studies at the University of Manchester. She currently teaches music performance studies at the Faculty of Music, University of Cambridge.

List of Figures and Tables List of Music Examples Notes on Contributors Acknowledgements Introduction Mine Dogantan-Dack 1 Living With and Imagining the Composer Mary Hunter 2 The Wisdom of the Classical Music Performer Mine Dogantan-Dack 3 Reconnecting with the Past, Feeling the Future and Enjoying the Present: Towards a Novel Pedagogy of Performing Abilities László Stachó 4 The Joy of Sight-Reading Eugene Montague 5 Performing Musical and Metaphysical Agency in Peteris Vasks' Gramata cellam Rebecca Thumpston-Gallagher 6 Rachmaninoff Meets Stanislavski: An Allegorical Archive and the Topos of Breath Pheaross Graham 7 But Whose Life, Really?: Singers' Experiences of Performing Robert Schumann's Frauenliebe und -leben op. 42 Natasha Loges 8 "I Was Trying to Get Down the Mountain with My Violin Strapped to My Back": Performance Anxiety Dreams of Classical Music Performers Mine Dogantan-Dack and László Stachó 9 Cross-Genre Musicking in Individual and Collaborative Group Contexts: Lived Experience and Musical Identity Ruth Herbert and Asha Parkinson 10 Intersubjectivity in Performance Ian Cross and Neta Spiro 11 Mixed Methods for Researching Musicians' Lived Experience: The Philosophy and Science of Musical Absorption Simon Høffding 12 Sensing Sound-Motion Objects in Music Performance Rolf Inge Godøy Index