The imaginary museum of musical works: an essay in the philosophy of music
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.
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A Nominalist Theory of Musical Works
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absolute music according activity aesthetic analytic analytic philosophy argued argument artistic artwork audience Bach Reader Baroque Music Beethoven belief challenge character claim classical music composer's composers composition conductors constitutive critics David and Mendel definition derivative derivative examples distinction E. T. A. Hoffmann early music eighteenth century emergence essential examples exist expressed extra-musical fact Franz Liszt function given Goodman Handel Haydn idea ideal identity conditions Imaginary Museum imitation instrumental music kind language Levinson Liszt matter meaning melody modern Mozart musical practice musical production musicians musicologists nature notational objects ontological ontologists open concepts opera opus orchestra original particular perfect compliance philosophical played possible principle programme music properties question refer regarded regulative concept relation relevant Roger North romantic score-copies scores Sonata sort of music sound speak specific status structure symphony theoretical theorists theory thought traditional transcendent understanding Werktreue work-concept writes wrote