[1] Despite the recent surge of scholarly work on musical performance, monographs devoted to the relationship between analysis and performance are still scarce.(1) Stein 1962, Cone 1968, and Berry 1989 (along with Rink’s 1995 edited collection) provide precedents. Among more recent literature, Klorman 2016 interprets musical structure in Mozart’s chamber music as performative social interplay, and De Souza 2017 reads structure within an interplay of instrument, body, and cognition. And Cook 2013 addresses relationships of analysis and performance in the context of reconceiving “music as performance.” But direct book-length treatment of the relationship between analysis and performance remains rare.

中文翻译：

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Jeffrey Swinkin 评论，表演性分析：重新想象音乐表演理论（罗彻斯特大学出版社，2016 年）

[1] 尽管最近关于音乐表演的学术工作激增，但致力于分析和表演之间关系的专着仍然很少。(1) Stein 1962、Cone 1968 和 Berry 1989（连同 Rink 1995 年编辑的合集）提供​​了先例。在最近的文献中，Klorman 2016 将莫扎特室内乐中的音乐结构解释为表演性的社会相互作用，而 De Souza 2017 则解读了乐器、身体和认知相互作用中的结构。库克 2013 年在重新构思“音乐即表演”的背景下解决了分析和表演的关系。但对分析与绩效之间关系的直接整本书长度处理仍然很少见。