Continuity of the performance and performance as continuity in academic musical performing art in the context of technical means of fixation

Abstract

The article studies forms and ways of musical performance presentation. The author substantiates the classification according to the criterion of attachment of the presentation to the direct stream of time, ensuring the integrity of this presentation. Based on this, designations of two forms of performance presentation are proposed: a performance act and a performance product. The paper raises the issue of the compliance of the performance record with the classical academic performance paradigm and of legality in the context of this paradigm recognizing a recording as a full representative of musical performance and the unconditional designation of a recording as a performance. The author gives a general conclusion about necessity seeing such acceptance of the recording as a standardized presentation form to raise the question about further research of institutional changes and the role of academic musical performance in contemporary situation.