"Semioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming . . . based this consideration of the sources of musical expression on her experiences as a performer—with interesting, if rarely surprising, results." —ChoiceUsing classical violin music as her principal laboratory, the author examines how a performance incorporates distinctive features not only of the work, but of the performer as well—and how the listener goes about interpreting not only the composer's work and the performer's rendering of the work, but also of the performer's and listener's identities. A richly interdisciplinary approach to a very common, yet persistently mysterious, part of our lives.
"Semioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming . . . based this consideration of the sources of musical expression on her experiences as a performer—with interesting, if rarely surprising, results." —ChoiceUsing classical violin music as her principal laboratory, the author examines how a performance incorporates distinctive features not only of the work, but of the performer as well—and how the listener goes about interpreting not only the composer's work and the performer's rendering of the work, but also of the performer's and listener's identities. A richly interdisciplinary approach to a very common, yet persistently mysterious, part of our lives.
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