This article draws on fieldwork observations of a vocal ensemble specialised in early music, describing the role of historical manuscripts in their creative process. It pursues two closely related questions: that of the status of the musical work as an agent of historical authenticity, and the type of creativity involved in this process of research, rehearsal, and performance. As such, it provides critical reflection on the use of concepts of material agency in the study of musical performance practices, and contributes to a reconsideration of the role of notation in musical creativity. It argues that historically informed performance may be considered as a form of experimental musical practice, in that it aims to cultivate new approaches to musical performance and in that its process may be described in terms of the testing of musical materials.

中文翻译：

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（重新）组合早期音乐演奏中的符号

本文借鉴了对早期音乐专业声乐合奏团的实地考察，描述了历史手稿在其创作过程中的作用。它追求两个密切相关的问题：音乐作品作为历史真实性代理的地位，以及在这个研究、排练和表演过程中涉及的创造力类型。因此，它提供了关于在音乐表演实践研究中使用物质代理概念的批判性反思，并有助于重新考虑符号在音乐创造力中的作用。它认为，历史上知情的表演可以被视为一种实验性音乐实践，因为它旨在培养新的音乐表演方法，并且可以根据音乐材料的测试来描述其过程。