ABSTRACT
Within the tradition of western classical music, research into rehearsal processes often focuses on the pivotal relationship between notation and performance. In this article, analysis of an audio recording of the Kreutzer Quartet's single rehearsal of Michael Finnissy's Second String Quartet in 2007 provides the starting point for exploring interactive and communicative processes between the composer and the performers along the path from notation to performance. Quantitative and qualitative approaches to rehearsal analysis are used, drawing also on theories and methodologies from ethnomusicology and psychology, as well as ideas from linguistics, in order to discover how the ensemble explores and resolves ‘management’ questions posed by contemporary repertoire, how rehearsal processes might be modelled for a potential audience of both scholars and performers, and how collaborative relationships function in practice.
