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ABSTRACT. As Dodd puts it, the fact that a score instructs performers to use specific instrumentation does not entail that a properly formed performance must use the instrumentation specified. Morris holds that performances of musical works are themselves both musical and works. Davies claims that it is not unusual for a composer to tinker with the work during rehearsals or after its premier, as it is prepared for publication. Cross and Tolbert remark that music must be recognized as referring beyond itself in being expressive of emotion. (pp. 317–322)

Keywords: performance, musical, emotion, composition, understanding, language

 

VIORICA BARBU-IURASCU
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Spiru Haret University

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