Abstract
Musical performers and performing processes are relatively new objects of study if we compare them with composers and works, categories that have been at the centre of musicological concerns for a long time: so much so that in a relatively recent publication, An Introduction to Music Studies, ed. J. P. E. Harper-Scott and Jim Samson (Cambridge: Cambridge University Press, 2009), the study of musical performance is presented as a field of renewal for music history and analysis.
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