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Overview"In the practice of classical music, musicians generally distinguish their performances and interpretations of Beethoven's Fifth Symphony from the symphony itself. But what conceptual understanding underlies this distinction? Just what is a performance of a work of music, or an interpretation of a work, and what is the musical work itself? Lydia Goehr considers these questions as she explores philosophically, historically and musically what it means to speak about music in terms of ""works"", and, more particularly, what it means for performers and interpreters to speak about being true to the works they perform. Finding traditional Anglo-American methodology inadequate for the task, she argues for a historicist approach to understanding the ontology of the musical work. Goehr describes how the ""imaginary museum of musical works"" was founded as a result of changes that took place around 1800 in aesthetic theory, society and politics. She describes how the concept of a musical work emerged, took shape and subsequently defined the norms, expectations and behavioural patterns that have come to characterize classical musical practice. She sets the description in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions. Her conclusions address both current philosophical debates and debates among musicians and musicologists." Full Product DetailsAuthor: Lydia GoehrPublisher: Oxford University Press Imprint: Clarendon Press Dimensions: Width: 13.00cm , Height: 2.50cm , Length: 21.00cm Weight: 0.564kg ISBN: 9780198248187ISBN 10: 0198248180 Pages: 324 Publication Date: 01 March 1992 Audience: College/higher education , Professional and scholarly , Postgraduate, Research & Scholarly , Professional & Vocational Replaced By: 9780195324785 Format: Hardback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of Contents"Part 1 The analytic approach: a nominalist theory of musical works; a Platonist theory of musical works; the limits of analysis and the need for history. Part 2 The historical approach: the central claim; musical meaning - Romantic transcendence and the separability principle; musical production without the work-concept; after 1800 - the Beethoven paradigm; ""Werktreue"" - confirmation and challenge in contemporary movements."ReviewsAuthor InformationTab Content 6Author Website:Countries AvailableAll regions |
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