RECLAIMING THE PERFORMER'S VOICE AND BODY IN MUSICAL ANALYSIS

The most prevalent model of musical analysis goes straight from score to sound, without reference to decisions – planned or impromptu – made by the performer as they perform the score. Since 2000 performance analysis by, among others, Nicholas Cook and John Rink, has sought to bridge this gap by analysing performances of works, yet the performer's voice is still absent. Catherine Costello Hirata and Dora Hanninen attempted to capture more experiential qualities in their approach to analysis, yet here too the performer is unable to contribute. There is growing discourse featuring performers speaking about their creative process, however this is generally not framed in a formal analytical space. This article examines the landscape of musical analysis as new models emerge for analysis of the score in its performed realm. It builds on research that presented a formal performance analysis of a score in the context of a performance, and extends the model and ideas expressed to reclaim a space for the performer's experience of a score in musical analysis.