The Musical Work: Reality Or Invention?
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 are explored in these essays, which examine a broad swathe of western music. 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.
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absolute music aesthetic album allosonic artistic autosonic Beethoven Berio Bill Laswell Busoni Carl Dahlhaus chord classical music composer composer-centredness composer's composition concept context culture discourse emergence Entwurf essay example existence Ferruccio Busoni function Genette genre hypertext hypotext idea identify important individual instrumental interpretation intertextual invention jazz Laswell listener Liszt Lydia Goehr material means modern music history musical artwork musical work-concept musicians musicology Musik nineteenth century notation notion oeuvre ontology opera opus orchestral original Oxford parody performance perhaps Peter Gabriel philosophical piano piece of music Plunderphonics polyphony popular music quotation recognised recorded popular music regulative Reinhard Strohm relation remix repertory Schubert Schubertian score sense social solo sonata song sound status Strohm structure style stylistic Symphony TEMPO term texture theory tion Tippett tradition transcription transtextual travesty University of Liverpool University Press vocal voice WECT Western art music work-concept Zender