Cover -- Contents -- Introduction (Taina Riikonen) -- Ontologies as epistemological interrelations -- Bodies as surfaces and as visceral -- References -- On Musical Performance as a Creative Process: A Semiotic Perspective (Lina Navickaitė-Martinelli) -- Introduction -- 1. On 'performance': terminological premise -- 2. A semiotic model for approaching the art of musical performance -- 3. Case-studies: artists' views on creativity in performance -- 3.1 The role of a performer -- 3.2 The performer's relation to the composer/work -- 4. Instead of a conclusion: prospects for research -- References -- Breaking up the Fourth Wall: Playing with, Questioning and Crossing the Implicit Barrier between Performer and Audience in Arja Koriseva's Stage Performance (Yrjö Heinonen) -- Introduction -- 1. The fourth wall and single focus -- 2. Breaking up the fourth wall and liberating the focus -- 3. Methodology -- 4. The tour -- 5. Crossing barriers at the Seinäjoki Sports Hall -- 6. Use of the stage and auditorium space at the Jyväskylä Paviljonki -- 7. Interplay between performance persona, character and real person -- 8. 'Rannalla' ('On the Shore') -- 9. 'Nuori tumma' ('Zigeunerjunge') -- 10. 'Tuulen värit' ('Colours of the Wind') -- Conclusion -- References -- Different Pianists with Different Bodies: Does the Body Matter? Constructing Discursive-Material Interconnections in a Study on Piano Pedagogy (Johanna Tiensuu) -- Introduction -- 1. Description of the fieldwork -- 2. Discursive practices -- 3. About discursive materiality -- 4. The pianistic body in the discursive-material (institutional) machine -- 5. From teacher-directedness towards self-regulation -- 6. Music is something done concretely with the body -- 7. Analysis of the fieldwork -- Conclusion -- References -- Other sources.

Curatorship as Conservation: The Role of the Curator in the Perpetuation of Performance-Based Artworks (Ana Dinger) -- Preamble -- 1. Between the subject and the object: the subject -- 2. Between the subject and the object: the object -- 3. Between the subject and the object: the interval -- References -- The Ontology of Music and the Challenge of Performance: Identity versus Variety, and the Persistence of the 'Text' (Anthony Pryer) -- Introduction -- 1. Performance functions and human agency -- 2. Theories of performance variety: descriptions vs. explanations -- 3. Archival notation, strategic notation, reading cultures and heuristic paths -- 4. Un-notated performances and the persistence of a 'text' -- 5. Works of music vs. works for music -- Afterword: the challenges of performances without a text-concept or work-concept -- References -- From Sketches to First Performance: Composer- Performer Interaction in the Creation Process of Jyrki Linjama's Completorium (Marjaana Virtanen) -- Introduction -- 1. Studying composer-performer interaction -- 2. The composing process -- 2.1 Composer-performer interaction -- 2.2 Score as script -- 3. Rehearsals leading up to the first performance -- 3.1 Rehearsal interaction -- 3.2 Werktreue and the composer's intentions -- 4. Composer-performer interaction and the musical work: when will Completorium be finished? -- Conclusion -- References -- Video recordings -- Interviews -- Bibliography -- Sound Art, Music and the Rehabilitation of Schizophonia (Thomas Gardner) -- Introduction -- 1. Ouija Group, Ecosonic Group and the valuing of schizophonia -- 2. Critique of mutual engagement -- 3. Emergence of schizophonia and the shadow-based Ouija board -- 4. Working with schizophonia -- Body posture -- Anticipatory touch -- Linking vision and hearing -- Ouija as instrument of enlightenment -- 5. In performance.

6. Condensation -- 7. Displacement -- 7.1 Displacement - an ethical question -- Conclusions -- Mimesis -- Schizophonia and electronic media -- References -- The Impact of the Musical Instrument on Debussy's La fille aux cheveux de lin: A Dialogue between a Pianist and a Kantele Musician ([Heidi Korhonen-Björkman] [Ritva Koistinen]) -- Introduction -- 1. The different challenges of the pianist and the kantele musician -- 2. About the individual instrument, tuning and time distribution -- 3. A masterpiece or an interlude? -- 4. The relativity of the dynamic scale -- 5. About the vocabulary -- Some final comments -- References -- Recordings and diaries -- Literature -- Reeds: Play within Shared Authority (Catherine Lee) -- Introduction -- 1. The collaborators -- 2. Development -- a) Oxen Pond -- b) Development of the score -- c) Integration of movement -- d) Workshop in Montreal -- e) St. John's, Newfoundland -- f) Premier Performance 10 July 2010 -- Conclusion -- References -- Signs and Messages of Love in Performing Handel's Giulio Cesare (Marjo Suominen) -- Introduction: research tasks and aims -- 1. Previous research -- 1.1 Previous namesake operas -- 1.2 Introducing ideas, basis for a study -- 1.3 Promoting the message of the opera - using metaphor via characterisation -- 2. Performance versions and a sketch of a musical rhetoric/affect analysis -- 2.1 Representation of the characters in the performances -- 2.2 Power and justice by Caesar vs. love and beauty by Cleopatra -- 2.3 Overall structure of the opera and the performances -- An afterword -- References -- Manuscript -- Printed and Online -- Video (performance) recordings -- Appendix A) The structure of the opera: musical numbers -- Appendix B) The structure of the opera: The overall structure of Giulio Cesare -- Flow and Gesture in Free Jazz (Guerino Mazzola) -- Introduction.

1. What is free jazz? -- 2. How free jazz is realized -- 3. The creation of a distributed identity in free jazz -- References.