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Through a case study of recordings of Bach’s Sonatas and Partitas for Solo Violin, I argue that enlisting Deleuzian concepts when analyzing multiple performances of the same piece is useful for the exploration of individual differences and practices of performance. Such analysis reveals a continuously shifting-transforming performance style and provides a rich tapestry of diversity within and across nominally agreed upon stylistic trends and characteristics such as Romantic-modernist, Classical-modernist, or historically informed. Volume 23, Number 4, December 2017 Copyright © 2017 Society for Music Theory [0.1] Since at least the 1990s some researchers have pushed for a revisionist approach to musicological thinking regarding the ontology of musical works in the Western classical tradition (Goehr 1992) and for a reconsideration of the respective roles composers and performers (as well as listeners) play in constructing the identity of compositions (Cook 2001, 2012; Leech-Wilkinson 2012). In this revisionist thinking the score is merely a script for the musical imagination and the “meaning” is created in the act of performing, listening, reading or analyzing. A focus on these possible realizations has enabled researchers to map significant trends in the history of interpreting notated compositions (Cook 2014; Fabian 2003; Leech-Wilkinson 2009a, 2009b; Philip 1992, 2004). But if we are serious about questioning the identity of musical works and paying a.ention to the myriad possible instantiations of score-scripts, we cannot be satisfied by noting only major historical characteristics. We must find ways to account for nuanced differences—differences that exist not only across multiple performances but are also internal to the music because of its transience, because it is a temporally unfolding eventful process. [0.2] While machine learning and big-data mining can fast-track the identification of general norms and trends (Crawford and Gibson 2009), individual listeners’ snail-pace systematic and

Analyzing Difference in Recordings of Bach’s Violin Solos with a Lead from Gilles Deleuze