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The performers on whom we rely to flesh out notated scores into sound are trained not to interpret (understood as the imposition of the unwanted self on what is fantasized to be a direct transmission of the composer's subjective intentions to the listener), but rather to strive for a perfect, standard sound, for an unbroken, polished surface. Such performers became ideal in the nineteenth century as grist for the symphony orchestra in which the conductor usurped complete control over interpretation and needed only the assurance of dependable sound production from the laboring musician. In our century of Repetition, they have remained ideal for purposes of the recording industry, which demands perfection and the kind of consistency that facilitates splicing (McClary, 1985, p. 152). |
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