Recording the performer's voice

In this chapter, the author argues for the urgency of establishing a performer's discourse within the discipline of musical performance studies, which would give recordings an integral role in representing the performer's voice. While recordings are studied as documents of performances within the discipline, musicologists - rather curiously - do not regard them as documents of the performer's expert musical knowledge. After discussing how the dominant disciplinary discourse misrepresents the performer's identity as a musician, the author argues for the necessity of developing a discourse that originates in the act of music making and provides a textually and musically accurate representation of the performer within performance studes. Towards this aim, she discusses the second movement of Beethoven's Piano Sonata Op.13 from a pianistic perspective and presents a recorded interpretation of it.