ABSTRACT
Themostobviousexampleofthispracticeliesinthethosecaseswherethe composerhim-orherselfmakesradicalchanges,asaresultofperforming experience.Examplesfromlatermusicabound,in,forexample,thepiano sonatasofMozart,orthesymphoniesofRachmaninov.4Whiletheseinstances arecloselyrelatedtothepatternofcompositionalrevisionprecedingperformance,Imerelymentionthemhere,asderivinginvariouswaysfromthe experienceofperformance.Importantanalogiesariseinearliermusic.David FallowshasrecentlysuggestedthatBinchoismaderevisionstosomecompositions,atalatertime: 5someofthesewerepossiblytoupdatethenotation,but othersresultwhenthecomposer"tidiedupafewpatchesthatnowseemedto himinwantofadjustment".6KarlKi.iglehasdrawnattentiontothemannerin whichlatefourteenth-centurycompositionsseemtoshowaseriesofchanges, re-scoringandmajormodifications,representingnotonlytransitionsintaste, butalsothespecialneedsoftheperformingandcopyinginstitutions.7These
An intermediate situation seems to be represented by the ornamented superius parts to Guglielmo Ebreo's basse danse setting Falla con misuras and to the giustiniane preserved in Petrucci's sixth book ofjrottole. 12 These probably provide written, partially composed, modifications of a performing tradition. My other examples, though, parallel the manner in which performance decisions and discoveries pervade the transmission of jazz. Performers here carry forward, from one performance to the next, a basic composition, which is consecutively adapted, modified with harmonic subtleties, and adorned with melodic embellishment.
