The Musical Work: Reality or Invention?

Front Cover
Michael Talbot
Oxford University Press, May 1, 2000 - Music - 268 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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Contents

Introduction
1
Some Thoughts on the Work in Popular Music
14
Intertextuality and Hypertextuality in Recorded Popular Music
35
WorkingPractice Configurations of the Popular Music Intertext
59
Work and RecordingsThe Impact of Commercialisation and Digitalisation
88
The Practice of EarlyNineteenthCentury Pianism
110
Looking Back at Ourselves The Problem with the Musical WorkConcept
128
The WorkAn Evaluative Charge
153
The WorkConcept and ComposerCentredness
168
The Musical Artwork and its Materials in the Music and Aesthetics of Busoni
187
Recomposing Schubert
205
On the Problems of Dating or Looking Backward and Forward with Strohm
231
Index of Musical Compositions and Collections
247
Index of Personal Names
253
Copyright

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About the author (2000)

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

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