This book presents different perspectives on knowledge in performing music.Having the musician in focus through all theoretical presentations and using a broad understanding of the concept 'knowledge' the book presents several methodologies from science and the humanities and links them to a performer's situation.A distinguished feature of this book relates to a musician's reflection on the constitution of knowledge in performative practice and artistic research.Part I Music and Knowledge starts with the everyday routines and some challenges in a classical musician's working situation.At the same time, this part will introduce some important concepts to be more developed in Parts II and III.The many methodological approaches that are at stake in the performer's practice makes necessary a broad concept of knowledge.The overall goal of Part I is to make a connection between practice and theory visible and attractive to the performer.Chapter 1 starts with the main subject to all students of music performance, practice, practice, practice.The focus on the product: How does it sound?makes this an example of a practice that involves the practitioner's knowledge.The aspiration to become an excellent performer makes theories on skill acquisition interesting.And, do the genes stop your talent, or is it the genes that make you talented?These questions surface quite often among young musicians.The professional musician does need to be able to play the notated music but knows that to make the score become music he/she must make deviations from the score in a creative way.That creative process will be discussed in Chapter 2 focusing on the temporality of music as a dimension making the performer's situation and choices unique.Classical music is incredibly connected to traditions of notation.In Chapter 3 an alternative history of music is presented, showing the rise and fall of literacy in classical music.The rise of literacy is connected to the first notation traditions in the church where the goal was to secure a consistent liturgical practice in different communities.The development of notation practice made possible a division between composer and performer, and later many professions related to music in the society.Common to all were the need for a performance (by yourself or by musicians) to be able to listen to music.In classical music, the notation practice was the grounding and an active identity-maker.The fall came with the invention of the phonograph and the gramophone industry where music became available without any competence in literacy of music.As the literacy of classical music is so essential Chapter 4 will present some of the research made on Music reading as eye movements and cognitive structure.Developing a flow chart of the reading process will illustrate several elements in the process from reading to action in a performance situation.The performer's world of knowledge will be the point of departure in this book.Everyday routines and challenges, style and genre, playing solo or in an ensemble, interpretation and communication, are all perspectives in action when playing music.To sort out some strategies in developing a professionalism, Part I will introduce some important concepts directly linked to the everyday routines and challenges.The many methodological approaches that are at stake in the performer's practice makes necessary a broad concept of knowledge.The overall goal of Part I is to make a connection between practice and theory visible and attractive to the performer.Chapter 1 sets out with the main subject for all students of musical performance, practice, practice, practice.This is an example of a practice that involves the practitioner's knowledge.The aspiration to become an excellent performer makes theories on skill acquisition attractive.And, do the genes limit your talent, or is it the genes that make you talented?These are questions surfacing quite often among young musicians.The professional musician does need to be able to play the notated music but knows that to make the score become music he/she must make deviations from the score in a creative way.Chapter 2 discusses the creative process focusing on the temporality of music as a dimension making the performer's situation and choices unique.At the same time, knowledge of the cognitive dimension of musical practice can enhance the understanding of the creative processes.Part of classical music's identity is closely connected to traditions of notation.Chapter 3: The rise and fall of literacy in classical music, presents an alternative history of music.The rise of literacy is linked to the first notation traditions in the church where the goal was to secure a consistent liturgical practice in different communities.The development of notation practice made possible a division between composer and performer, and later many professions related to music in society.Common to all were the need for a performance (by yourself or by musicians) to be able to listen to music.In classical music, the notation practice became the fundament for all performances.The invention of the phonograph and the gramophone industry represents the fall where music became available without any competence in the literacy of music.As literacy is essential to performing classical music, Chapter 4 will present some of the research made on Music reading as eye movements.Developing a flow chart of the reading process will illustrate several elements in the process from the reading to the action in a performance situation.
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