This has been a point of contention with me and my professors ever since I have been in school. Where we buttheads is when it comes to instructions in the music. Now Im not talking about extended techniques, though a few like multi phonics are so normalized that they can fall under this conversation. I am talking about basic instructions that are idiomatic to a particular instrument. Pedal markings for harps, harmonic fingerings for violins and other bowed string instruments, piano fingerings (such as cross staff notation and just plain old fingerings), breath marks, and so on and so forth.
What furthered this debate are the talks we have had with performers. When I first learn how to write for harp I was taught to include harp pedal markings. Later I learned that many harp players would rather you didnt include those markings. I heard, in a presentation from our bass professor, that he prefers that composers didnt write the "fingerings" for harmonics for double-bass but instead just have the little circle above the note and allow him to figure out how to play it as a harmonic (be it artificial or natural). However, he did say that he would prefer composers to include parts in double-bass solo music to be already transposed to their solo tuning (which I believe is a half or whole step up from C), while I have heard from others that C scores are just fine.
Perhaps the most conflicting aspect of micromanaging me and my professors (and performers) have are interpretive instructions. Where I prefer to allow my performers to free interpret the music, the professors I have had have run the gamut of allowing me to write music for free interpretation to wanting me to be very very specific about what I want. Things such as exact bmp in the tempo, exact places to breath in the music that I want, exact note distribution in both left and right hands for pianist (often leading to a lot of cross-staff notation), to exact emotion dictation at the beginning of the piece (writing "with joy" or "march-style" after the tempo marking). Some of these things make a lot of sense to do while others feel like just plain micromanaging.
The performers I have worked with have been relatively split on this issue as well. While others appreciate the exactness of these markings, others find it distracting. It also shows in the performance of the music and the results have also been split down the middle. Sometimes the micromanaging of the score works to the benefit of the performance, while other times it results with a lot more stress on the performer resulting in a poorer performance. The same results happened with scores that were more interpretive.
So what do you think? Is there a thing as micromanaging in music composition or do the performers know best? I don't think there is a right or wrong answer to this but I would like to know your opinion on the matter.