Abstract
We have learned in previous chapters that performance conveys a doubly infinite message: the infinity of interpretative perspectives as they are realized in music analysis, gesturality, and emotive expressivity, and the variety of performative shaping expressed in the infinitesimal vocabulary of performance fields.
At the age of 76, Florence Foster Jenkins finally yielded to public demand and performed at Carnegie Hall on October 25, 1944. So anticipated was the performance that tickets for the event sold out weeks in advance.
Jenkins died a month later, seemingly also because of the destroying critique.
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References
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© 2011 Springer-Verlag Berlin Heidelberg
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Mazzola, G. (2011). Rethinking Music Critique. In: Musical Performance. Computational Music Science. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-11838-8_27
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DOI: https://doi.org/10.1007/978-3-642-11838-8_27
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