This is a limited free preview of this book. Please buy full access.

---

1. Gunther Schuller, The Compleat Conductor (Oxford: Oxford University Press, 1997), 7.

2. Nicholas Cook, “Between Process and Product: Music and/as Performance”, Music Theory Online (2001), http://www.societymusic theory.org/mto.01.7.2/mto.01.7.2.cook_essay.htm, ¶4.

3. Hermann Scherchen, Handbook of Conducting, trans. M. D. Calvocoressi (1933; Oxford: Oxford University Press, 1971), 1.

4. Lydia Goehr, The Quest for Voice: Music, Politics, and the Limits of Philosophy (Oxford: Clarendon Press, 1998), 134.

5. Peter Walls, “Historical Performance and the Modern Performer”, in Musical Performance: A Guide to Understanding, ed. John Rink (Cambridge: Cambridge University Press, 2002), 17–18.

6. Michael Krausz, “Rightness and Reason in Musical Interpretation”, in The Interpretation of Music, ed. Michael Krausz (Oxford: Oxford University Press, 1993), 75.

7. Nicholas Cook, “Between Process and Product: Music and/as Performance”, Music Theory Online (2001), http://www.societymusic theory.org/mto.01.7.2/mto.01.7.2.cook_essay.htm.

8. Jonathan O. Urmson, “The Ethics of Musical Performance”, in The Interpretation of Music: Philosophical Essays, ed. Michael Krausz (Oxford: Oxford University Press, 1993), 161–162.

9. Krausz, 75.

10. Marcus Klorman, The Art of Conducting: European Conductors of the Golden Era (Hamburg, Germany: Teldec/Warner Music Vision, videotape 4509-95710-3, 1997), 23:10.

11. Göran Hermerén, “The Full Voic’d Quire: Types of Interpretation in Music”, in The Interpretation of Music: Philosophical Essays, ed. Michael Krausz (Oxford, U.K.: Clarendon Press, 1993), 21.

12. Max Rudolf, The Grammar of Conducting (New York: Schirmer Books, 1994), 357.

13. Goehr, 134.

14. Ibid., 150.

15. Ibid., 39.