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Overview"What is involved in the composition, performance, and reception of classical music? What are we doing when we listen to this music seriously? Why when playing a Beethoven sonata do performers begin with the first note indicated in the score; why don't they feel free to improvise around the sonata's central theme? Why, finally, does it go against tradition for an audience at a concert of classical music to tap its feet? Bound up in these questions is the overriding question of what it means philosophically, musically, and historically for musicians to speak about music in terms of ""works"". In this book, Lydia Goehr describes how the concept of a musical work fully crystallized around 1800, and subsequently defined the norms, expectations, and behavioral patterns that have come to characterize classical musical practice. The description is set in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions; at the same time, debates amongst conductors, early-music performers, and avant-gardists are addressed. The Imaginary Museum of Musical Works is a seminal work of scholarship, and has appeared in an astonishing variety of contexts and disciplines from musicological and philosophical since its initial publication. This second edition features a new Introductory Essay by the author, discussing the genesis of her groundbreaking thesis, how her subsequent work has followed and developed similar themes, and how criticisms along the way have informed not only her own work but the ""Imaginary Museum"" concept more generally as it spread across disciplinary lines. A provocative foreword by Richard Taruskin contextualizes Goehr's argument and points to its continuing centrality to the field." Full Product DetailsAuthor: Lydia Goehr (Professor of Philosophy and Aesthetics, Professor of Philosophy and Aesthetics, Columbia University)Publisher: Oxford University Press Inc Imprint: Oxford University Press Inc Edition: 2nd Revised edition Dimensions: Width: 21.80cm , Height: 2.50cm , Length: 14.00cm Weight: 0.476kg ISBN: 9780195324785ISBN 10: 0195324781 Pages: 368 Publication Date: 08 November 2007 Audience: College/higher education , Professional and scholarly , Postgraduate, Research & Scholarly , Professional & Vocational Format: Paperback 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 ContentsForewordby Richard Taruskin: Introductory Essay: His Master's Choiceby Lydia Goehr: Introduction Part I. The Analytic Approach 1: A Nominalist Theory of Musical Works 2: A Platonist Theory of Musical Works 3: The Limits of Analysis and the Need for History Part II. The Historical Approach 4: The Central Claim 5: Musical Meaning: From Antiquity to the Enlightenment 6: Musical Meaning: 7: Musical Production without the Work-Concept 8: After 1800: The Beethoven Paradigm 9: Werktreue: Confirmation and Challenge in Contemporary Movements Bibliography of Works Cited IndexReviews<br> In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion. --Susan McClary, Professor of Musicology, University of California -- Los Angeles<p><br> This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it. --Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing Brahms<br><p><br><br><p><br>Reviews of the First Edition<br><p><br><br><p><br> A novel and definitive study of a concept of major importance in both the history of music and the philosophy of music. --Journal of Aesthetics and Art Criticism <p><br> This is a brilliant and fascinating book...a book to be read by anyone interested in music and concerned for the health of our culture. --Music and Letters<p><br> One of the most exciting books on music to appear for a long timeexceptional, clearly the product of a fresh, imaginative, lucid mind...this book cannot fail to be essential reading for a long time to come...with this volume we have a feast par excellence.! --Times Higher Educational Supplement<p><br> In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion. --Susan McClary, Professor of Musicology, University of California -- Los Angeles<br> This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it. --Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing Brahms <br> Reviews of the First Edition <br> A novel and definitive study of a concept of major importance in both the history of music and the philosophy of music. --Journal of Aesthetics and Art Criticism <br> This is a brilliant and fascinating book...a book to be read by anyone interested in music and concerned for the health of our culture. --Music and Letters<br> One of the most exciting books on music to appear for a long timeexceptional, clearly the product of a fresh, imaginative, lucid mind...this book cannot fail to be essential reading for a long time to come...with this volume we have a feast par excellence.! --Times Higher Educational Supplement<br> <br> In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion. --Susan McClary, Professor of Musicology, University of California -- Los Angeles<br> This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it. --Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing Brahms <br> <br>Reviews of the First Edition <br> <br> A novel and definitive study of a concept of major importancei Author InformationLydia Goehr is Professor of Philosophy and Aesthetic Theory at Columbia University. She is also author The Quest for Voice: Music, Politics, and the Limits of Philosophy, the forthcoming Elective Affinities: Musical Essays of the History of Aesthetic Theory, and co-editor of The Don Giovanni Moment: Essays on the Legacy of an Opera. Tab Content 6Author Website:Countries AvailableAll regions |
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