The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music - Couverture rigide

Goehr, Lydia

Couverture rigide

ISBN 10 : 0198248180 ISBN 13 : 9780198248187

Editeur : Clarendon Press, 1992

Synopsis

In the practice of classical music, musicians generally distinguish their performances and interpretations of Beethoven's Fifth Symphony from the symphony itself. But what conceptual understanding underlies this distinction? Just what is a performance of a work of music, or an interpretation of a work, and what is the musical work itself? Lydia Goehr considers these questions as she explores philosophically, historically and musically what it means to speak about music in terms of "works", and, more particularly, what it means for performers and interpreters to speak about being true to the works they perform. Finding traditional Anglo-American methodology inadequate for the task, she argues for a historicist approach to understanding the ontology of the musical work. Goehr describes how the "imaginary museum of musical works" was founded as a result of changes that took place around 1800 in aesthetic theory, society and politics. She describes how the concept of a musical work emerged, took shape and subsequently defined the norms, expectations and behavioural patterns that have come to characterize classical musical practice. She sets the description in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions. Her conclusions address both current philosophical debates and debates among musicians and musicologists.

A propos du livre

Présentation de l'éditeur

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'. Lydia Goehr describes how the concept of a musical work emerged, as late as 1800, and subsequently defined the norms, expectations, and behavioural 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, current debates amongst conductors, early-music performers, and avant-guardists are addressed. 'This is a brilliant and fascinating book... a book to be read by anyone interested in music and concerned for the health of our culture.' Gabriel Josipovici, Music and Letters 'one of the most exciting books on music to appear for a long time...exceptional, clearly the product of a fresh, imaginative, lucid mind...the style is elegant and the argument neatly and persuasively constructed. the book is eminently readable and at the same time exhilarating for the way in which it stimulates the mind...this book cannot fail to be essential reading for a long time to come...with this volume we have a feast par excellence!' Rosamund McGuinness, Times Higher Educational Supplement 'Goehr's position and discussion are sober, carefully reasoned, clearly set out, and remarkably persuasive.' Choice 'proceeds with exemplary clarity'Ruth Solie, Notes

Revue de presse

Editor: Suzanne Ryan "In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion."--Susan McClary, Professor of Musicology, University of California -- Los Angeles

"This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it."--Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing Brahms

Détails de l'édition

• Éditeur: Clarendon Press
• Date d'édition: 1992
• Langue: anglais
• ISBN 10: 0198248180
• ISBN 13: 9780198248187
• Reliure: Relié
• Nombre de pages: 324
• Coordonnées du fabricant: non disponible
• Personne responsable: Ufficio Anagrafiche Messaggerie; ufficio.anagrafiche@meli.it; ; Via Verdi, 8; Assago Milano; 20090; Italie