The Musical Work: Reality Or Invention?

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Michael Talbot, James and Constance Alsop Professor of Music Michael Talbot
Liverpool University Press, 2000 - Music - 260 pages
"Like literature and art, music has 'works'. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation were explored in a symposium held at the University of Liverpool, of which these are the proceedings. The essays examine a broad swathe of Western music: classical and popular, notated and recorded, ancient and modern. They show how to call a piece a work is to refer not merely to its structural properties but also to the interests, values and presumptions of the culture and society that cultivate it. Some cases of convergence and divergence between parallel musical traditions are revealed. In their varied approaches, the eleven contributors mirror the cleavages that they find in the subject matter. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear." --Book Jacket.

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Some Thoughts on the Work in Popular Music
Intertextuality and Hypertextuality in Recorded Popular
Configuration of the Popular Music
The Impact of Commercialism
The Practice of EarlyNineteenthCentury Pianism
The Problem with
An Evaluative Charge
The WorkConcept and ComposerCentredness
The Musical Artwork and its Materials in the Music
Recomposing Schubert
On the Problems of Dating or Looking Backward
Index of Musical Compositions and Collections
Index of Personal Names

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About the author (2000)

Professor Michael Talbot is Senior Fellow in the School of Music at the University of Liverpool.