Douglas Hofstadter – Le ton beau de Marot (1997)

People not only wish but deeply need to attribute Profound Sensitivity to the performer when, in reality, the profundity is all, or nearly all, in the notes on paper. It’s the composer’s soul, not the performer’s, that is speaking to them. But it’s such a typical human desire to assign credit or blame to the flesh-and-blood human before their eyes rather than to an invisible abstraction of a human, a shadow long since vanished from view.

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