I complained to the singer I’m working with that some of my composer colleagues insist that virtually every note in a score should be marked with a dynamic and articulation marking – something I refuse to do. She replied: “Oh, I hate it when I feel hemmed in by the composer. I want to look at the notes and think, ‘What do I need to do to bring this line to life?'” That’s why I’m working with her. I would be irritated working with a performer who needed to be spoon-fed every phrase-shape, just as I would be bored writing a piece that sounded the same no matter who performed it.
Kyle Gann on music after the fact
