Still, just as critics extolled Jews as performers, commentators were often quick to point out their ‘uncreative’ and ‘imitative’ tendencies when it came to composition. Yet others singled out specific ‘races’ as possessing unique musical gifts-above all Jews and Slavs-and celebrated racial mixing as the preferred means for cultivating musical talent.
Some commentators continued to adhere to a cosmopolitan view of performance that viewed the performer’s nationality as irrelevant, while others dismissed the notion altogether as scientifically unsound. As radio appeared to threaten the viability of live performance in the 1920’s, music critics focused more than ever before on the role of concertizing artists and their relationship to the music of their native countries. In the charged atmosphere of interwar Europe, music criticism became ensnared in wider debates about both the place of music in the lives of ordinary Germans and its larger role as a means to reestablish Germany among the community of nations following the travails of World War I. This article examines attitudes towards the issue of race and ethnicity and musical performance during Weimar Germany. The project also contributes to artistic research in music performance by motivating the emergence of a specifically performer-oriented discourse on live music-making. the live performance, necessitates an interested and subjectively valorized positioning of the performer–researcher. The project takes the value of the live event for the performer as the starting point and thereby moves beyond the interests of merely gaining new knowledge and understanding into an area where artistic engagement with and commitment to the ‘object’ of research, i.e. It addresses two broad questions: 1) How do performers continue to learn on stage? and 2) What methods are appropriate for documenting and analyzing a live performance in terms of musical content, social significance, and as a research outcome for dissemination to the wider research community? It is argued that performers continue to learn on stage, and among other things a live performance is a site of knowledge production.
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This paper presents preliminary artistic research on live music performance from the perspective of a classical professional pianist working within a chamber music context. ABSTRACT: Live performance is an under-researched area within contemporary music performance studies, and currently there is a very limited research context for studying the creation of a live performance of music involving a score.
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