The article examines the ethics of musical interpretation, focusing on the performer’s responsibility in faithfully recreating a work from the score. Drawing inspiration from conductor Daniel Barenboim’s reflections (2016), it analyzes the delicate balance between personal expression and fidelity to the work, highlighting how interpretation involves not only technical skill but also moral responsibility. This notion develops through the importance attributed to history, authenticity, and the present in interpretation. These concepts are explored in the relationship between the score and the (...) performer, addressing the ethical challenges involved in balancing fidelity and creativity. The study of Historically Informed Performance (HIP) demonstrates how it serves as the foundation of the ethics of musical interpretation, due to its attempt to recreate the original conditions of performances. However, it is also noted that HIP embodies an overly rigid fidelity, thus requiring a more balanced approach that views musical practice as an ongoing dialogue between past and present. Finally, since the rules of musical practice are not enough for performers to interpret ethically, as they need to be internalized, the role of Aristotelian phronesis is explored as an internal guide for performers in interpretative practice. Phronesis aids the performer in mediating between past and present and in making interpretative decisions that are both ethically and musically appropriate. (shrink)

This article investigates the ethical requirements and features that characterize the professional life of successful contemporary classical orchestras, with particular focus on the leadership style of their conductors. As we will show, the traditional authoritarian approach, marked by the conductor’s commanding charisma and strict demand for obedience from orchestra members, has evolved today into a more ethically-based transformational style of leadership. This new approach is rooted in principles of respect, voluntary compliance, and trust. The present paper delves into the interpersonal (...) dynamics within contemporary orchestras, focusing specifically on the character traits required to establish trust and collaboration between the conductor and the orchestra members, as well as among the orchestra members themselves. In particular, drawing from recent research in psychology, we underscore the significance of deference, empathy, and shared commitment toward the common goal of excellence in performance. We conclude that the ethics-centered style of leadership adopted by most contemporary conductors may extend beyond the realm of music, offering insights applicable to leaders in various other fields. By fostering deep connections, shared purpose, and collaboration, this approach has the potential to enhance organizational performance and outcomes in general. (shrink)

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who traditionally (...) separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. (shrink)

This article examines the ethical foundations within classical music performance. It argues that phronesis (practical wisdom) is crucial in navigating the ethical challenges faced by musicians, addressing the tension between distinct normative constraints as well as enhancing musicians’ ethical awareness and decision-making in their practice. Among these ethical concerns is the responsibility to balance respecting the work’s integrity and pursuing originality. On these grounds, we argue further that phronesis serves a broader function, enabling musicians to fulfil effectively their role responsibility (...) to composers, peers, and audiences. (shrink)

In contemporary virtue ethics, virtues are often assimilated to skills. This assimilation suggests that the moral knowledge of virtuous individuals parallels the practical knowledge of experts in a particular skill. According to Julia Annas (2011a, 2011b), virtues function as skills requiring the ability to articulate reasons for one’s actions. These skills are developed through habitual practice over time. For example, a pianist who internalizes piano techniques possesses practical expertise akin to someone who understands their actions, even when performed automatically. Annas (...) argues that to cultivate ethical virtue, we should emulate musical action, viewing it as a habit rather than mere repetition. This analogy aids in understanding virtue acquisition as practical skill-building. Expanding on Annas’s insights, this article contends that musical practice offers profound ethical implications for musicians as potential moral agents. Supported by important neurological and psychological studies on musical expertise, as well as the dynamics of classical music interpretation and professional career development, this argument sheds light on the ethical dimensions of musical agency. These insights into musical expertise could enhance our understanding of ethical expertise overall. (shrink)

The aim of the article is to illuminate the idea that humility – understood as self-knowledge and a relational virtue in the Thomistic sense – is essential for professional excellence in music. The article begins by examining contemporary interpretations of humility and then refers to the conceptions of Augustine and Thomas Aquinas. It argues that 1) Aquinas’s conception of humility aligns well with current understandings of humility among professional musicians in Western classical music; 2) humility can be considered a role-specific (...) virtue in music; and 3) high-level musical practice serves as a form of training in the virtue of humility. The article then draws on studies by social scientists and testimonies from professional musicians and conductors to explore how humility is manifested and actualized in music, particularly concerning self-knowledge and excellence. (shrink)

The aim of the article is to illuminate the idea that humility – understood as self-knowledge and a relational virtue in the Thomistic sense – is essential for professional excellence in music. The article begins by examining contemporary interpretations of humility and then refers to the conceptions of Augustine and Thomas Aquinas. It argues that 1) Aquinas’s conception of humility aligns well with current understandings of humility among professional musicians in Western classical music; 2) humility can be considered a role-specific (...) virtue in music; and 3) high-level musical practice serves as a form of training in the virtue of humility. The article then draws on studies by social scientists and testimonies from professional musicians and conductors to explore how humility is manifested and actualized in music, particularly concerning self-knowledge and excellence. (shrink)

This article investigates the ethical requirements and features that characterize the professional life of successful contemporary classical orchestras, with particular focus on the leadership style of their conductors. As we will show, the traditional authoritarian approach, marked by the conductor’s commanding charisma and strict demand for obedience from orchestra members, has evolved today into a more ethically-based transformational style of leadership. This new approach is rooted in principles of respect, voluntary compliance, and trust. The present paper delves into the interpersonal (...) dynamics within contemporary orchestras, focusing specifically on the character traits required to establish trust and collaboration between the conductor and the orchestra members, as well as among the orchestra members themselves. In particular, drawing from recent research in psychology, we underscore the significance of deference, empathy, and shared commitment toward the common goal of excellence in performance. We conclude that the ethics-centered style of leadership adopted by most contemporary conductors may extend beyond the realm of music, offering insights applicable to leaders in various other fields. By fostering deep connections, shared purpose, and collaboration, this approach has the potential to enhance organizational performance and outcomes in general. (shrink)

The book explores ethical issues related to musical works from the Western classical tradition and the performers who interpret them. It examines the interpretation of historical works, the ontology that legitimizes musical solutions, and ethics as a guide for fulfilling the performer's role responsibility.