Abstract
This study considers how the work of an amateur orchestra creating a concert performance of a Haydn's concerto is organized by the musical score. The method of inquiry which places the text in the centre of the analysis explores how the surrounding social relations and discourses are carried into an actual work-in-progress; in this process, the score is a link between the macro level of musical discourse embodied in other texts, the related macro level of performance history, and the micro level of individual performance, finally connecting the individual work of actual composers to the exposition of that work. The study furthers existing ethnomethodological and phenomenological examinations of orchestral performance by exposing some of the relations underlying the taken-for-granted ‘common ground’ of the score.
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