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Scope note: This class comprises sets of directions to which individual performances of theatrical, choreographic, or musical works and their combinations should conform. In the case of theatrical performances, such directions incorporate, but are not limited nor reducible to, the text of a given version of the play performed (e.g., a translated text, some passages of which are deliberately omitted, with some rephrased lines, etc.). In the case of choreographic performances, such directions may incorporate, but are neither limited nor reducible to, the notation of choreographic movements in systems such as labanotation. In the case of musical performances, such directions may incorporate, but are neither limited nor reducible to, the musical score. In case of electronic music, they may incorporate software instructions. These directions may or may not completely determine the form of the intended performance. Depending on the nature of the directions, the form of the intended performance, such as the sets of movements or the sound characteristics, may or may not be predictable from the directions. Note that a performance plan may be more or less elaborate, and may even foresee just improvisation. Examples: - The set of instructions for the production of a Yiddish translation of the textual work entitled ‘King Lear’, as directed by Sergei Radlov in Moscow in 1935 - The set of instructions for the production of the ballet entitled ‘Rite of spring’, as choreographed by Pina Bausch in Wuppertal in 1975 - The set of instructions by Bruno Walter for performing Gustav Mahler’s 9th symphony, delivered by him to the Columbia Symphony Orchestra during rehearsals in Hollywood in 1961 (as partially documented in the CD entitled ‘Bruno Walter conducts and talks about Mahler symphony No. 9: rehearsal & performance’) - The set of instructions contained in the “performance handbook” for Luigi Nono’s musical work entitled ‘À Pierre’

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  • performance plan
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  • Scope note: This class comprises sets of directions to which individual performances of theatrical, choreographic, or musical works and their combinations should conform. In the case of theatrical performances, such directions incorporate, but are not limited nor reducible to, the text of a given version of the play performed (e.g., a translated text, some passages of which are deliberately omitted, with some rephrased lines, etc.). In the case of choreographic performances, such directions may incorporate, but are neither limited nor reducible to, the notation of choreographic movements in systems such as labanotation. In the case of musical performances, such directions may incorporate, but are neither limited nor reducible to, the musical score. In case of electronic music, they may incorporate software instructions. These directions may or may not completely determine the form of the intended performance. Depending on the nature of the directions, the form of the intended performance, such as the sets of movements or the sound characteristics, may or may not be predictable from the directions. Note that a performance plan may be more or less elaborate, and may even foresee just improvisation. Examples: - The set of instructions for the production of a Yiddish translation of the textual work entitled ‘King Lear’, as directed by Sergei Radlov in Moscow in 1935 - The set of instructions for the production of the ballet entitled ‘Rite of spring’, as choreographed by Pina Bausch in Wuppertal in 1975 - The set of instructions by Bruno Walter for performing Gustav Mahler’s 9th symphony, delivered by him to the Columbia Symphony Orchestra during rehearsals in Hollywood in 1961 (as partially documented in the CD entitled ‘Bruno Walter conducts and talks about Mahler symphony No. 9: rehearsal & performance’) - The set of instructions contained in the “performance handbook” for Luigi Nono’s musical work entitled ‘À Pierre’
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