The imaginary museum of musical works: an essay in the philosophy of music

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Clarendon Press, 1992 - Music - 314 pages
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What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer such questions, Lydia Goehr combines philosophical and historical methods of enquiry. Finding Anglo-American philosophy inadequate for the task, she shows that a historical perspective is indispensable to a full understanding of musical ontology. Goehr examines the concepts and assumptions behind the practice of classical music in the nineteenth century and demonstrates how different they were from those of previous centuries. She rejects the finding that the concept of a musical work emerged in the sixteenth century, placing its emergence instead around 1800. She describes how the concept of a work then came to define the norms, expectations, and behaviour that we now associate with classical music. Out of the historical thesis Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.

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Contents

INTRODUCTION
1
A Nominalist Theory of Musical Works
13
APlatonistTheoryof Musical Works
44
Copyright

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About the author (1992)

Lydia Goehr is Professor of Philosophy at Columbia University, New York. She is the author of "The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music " and of numerous articles in aesthetics and the philosophy of music.

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