Rink explores how performance and scholarship -- so unalike in their nature, culture and procedures -- can communicate, interact, sometimes even merge. Judiciously and humanely, he enriches the reader''s sense of how variously they may make music together." -- Daniel Leech-Wilkinson, Emeritus Professor of Music, King''s College London "This collection of essays surveys the thinking of a pioneering figure in performance research, distinguished by methodological adventurousness, and steeped in love for the Romantic keyboard repertoire." -- Natasha Loges, Hochschule für Musik Freiburg "This book brings together three decades of John Rink''s work rethinking and recasting scholarship on musical performance. His musicality, scholarship, and deep affection for Romantic piano music come through on every page." -- Edward Klorman, Schulich School of Music, McGill University "For more than thirty years, John Rink has been the leading figure in the development - even the formation - of musical performance studies. Across the twelve chapters of this fascinating monograph, bringing together thoroughly revised and integrated essays that span that thirty-year period, Rink provides insights into the relationship between analysis and performance, gesture and narrative, notation and historical informedness, performer/performance identity, the past and the future of musical performance studies - and an intriguing account of his own experience as a juror at the International Chopin Piano Competition. Written in characteristically lucid and incisive prose this book is both a seminal and a culminating contribution to the field that Rink helped to define, and will be essential reading for anyone interested in musical performance.

" -- Eric F. Clarke, Emeritus Professor of Music, University of Oxford "The book is an essential read for musicians wishing to enhance their understanding of performance strategies, analysis, and performers'' self-reflection. John Rink''s comprehensive approach to music performance studies offers an astute, insightful and subtly personalised perspective on the discipline." -- Lina Navickaite-Martinelli, Professor and Senior Researcher, Lithuanian Academy of Music and Theatre "Written in characteristically lucid and incisive prose this book is both a seminal and a culminating contribution to the field that Rink helped to define, and will be essential reading for anyone interested in musical performance." -- Eric F. Clarke, Emeritus Professor of Music, University of Oxford "Building on and developing key writings published in a wide range of sources, this book provides an overview of Rink''s thinking that will be equally indispensable for academics interested in performance and for performers seeking to understand and develop their creative agency." -- Nicholas Cook, Emeritus Professor of Music, University of Cambridge "A twelve-step scrutiny of music performance studies, John Rink''s Music in Profile offers the reader an astute, insightful and subtly personalised perspective on the discipline. Approaching the subject as both scholar and musical practitioner, the author maps a conception of performers'' strategies, analysis, and self-reflection.

" -- Lina NavickaitÄ-Martinelli, Professor and Senior Researcher, Lithuanian Academy of Music and Theatre. "This book brings together three decades of John Rink''s work rethinking and recasting scholarship on musical performance. His musicality, scholarship, and deep affection for Romantic piano music come through on every page." -- Edward Klorman, Associate Professor, Schulich School of Music, McGill University "This collection of essays surveys the thinking of a pioneering figure in performance research, distinguished by methodological adventurousness, and steeped in love for the Romantic keyboard repertoire." -- Natasha Loges, Professor at Hochschule für Musik Freiburg "John Rink explores how performance and scholarship- so unalike in their nature, culture and procedures can communicate, interact, sometimes even merge. Judiciously and humanely, he enriches the reader''s sense of how variously they may make music together." -- Daniel Leech-Wilkinson, Emeritus Professor of Music, King''s College London.