The conclusion rounds up the discussion provided in Chapters 2-5. Dislocation, arpeggiation, metrical rubato and various forms of rhythmic alteration, as well as tempo modification were indispensable performing practices in piano playing around the turn of the twentieth century. Recorded examples reveal that many celebrated pianists around the turn of the twentieth century used these techniques in a manner that does not accord with current notions of good taste. The conclusion emphasises the need to understand the gulf between theory and practice, as well as to understand the meaning of the musical notation for composers and performers and the aesthetics of performance of bygone eras.
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