The Imaginary Museum of Musical Works : An Essay in the Philosophy of Music: An Essay in the Philosophy of MusicWhat 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 among conductors, early music performers, and avant-gardists. - ;Introduction; I. The Analytic Approach: Status and identity: Analytical positions I; Analytical positions II; Critique and transition; II. The Historical Approach: Normativity and Practice: The central claim; Musical meaning I; Musical meaning II; Musical production I; Musical production II; Werktreue: Confirmation and challenge - |
Contents
1 | |
The Central Claim | 89 |
From Antiquity to the Enlightenment | 120 |
11 | 126 |
Romantic Transcendence and | 148 |
Musical Production without the WorkConcept | 176 |
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The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music Lydia Goehr No preview available - 1992 |
Common terms and phrases
absolute music according activity analytic argued artistic Bach Reader Baroque Music Beethoven belief Bujić challenge character claim classical music composer's composers composition conductors constitutive critics David and Mendel definition derivative derivative examples discussion distinction E. T. A. Hoffmann early music eighteenth century emergence essential existence expressed extra-musical fact form of music Franz Liszt function given Goodman Handel Haydn idea ideal identity conditions imitation instrumental music Johann Sebastian Bach Journal of Aesthetics kind Levinson Liszt matter meaning melody modern Mozart musical performance musical practice musical production musicians nature notational objects ontological open concept opera orchestra original particular perfect compliance philosophical played principle programme music properties purely musical regulative concept relation relevant Roger North romantic Romanticism score-copies scores Sonata sort sound speak specific status structure Symphony theoretical theorists theory thought traditional transcendent types understanding Werktreue work-concept work's writes wrote York