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Record Nr. |
UNINA9910450438603321 |
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Autore |
Taruskin Richard |
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Titolo |
Text and act [[electronic resource] ] : essays on music and performance / / Richard Taruskin |
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Pubbl/distr/stampa |
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New York, : Oxford University Press, 1995 |
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ISBN |
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1-280-45099-1 |
0-19-535743-4 |
1-60256-031-5 |
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Descrizione fisica |
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1 online resource (391 p.) |
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Disciplina |
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Soggetti |
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Performance practice (Music) |
Style, Musical |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Contents; Author's Note; INTRODUCTION; Last Thoughts First; IN THEORY; 1. On Letting the Music Speak for Itself; 2. The Limits of Authenticity: A Contribution; 3. Down with the Fence; 4. The Pastness of the Present and the Presence of the Past; 5. What-or Where-Is the Original?; 6. The Modern Sound of Early Music; 7. Tradition and Authority; IN PRACTICE; Beethoven; 8. The New Antiquity; 9. Resisting the Ninth; Mozart; 10. An Icon for Our Time; 11. A Mozart Wholly Ours; 12. Old (New) Instruments, New (Old) Tempos; Bach; 13. Backslide or Harbinger?; 14. Facing up, Finally, to Bach's Dark Vision |
15. The Crooked Straight and the Rough Places PlainAntiquarian Innocence; 16. Report from Lincoln Center: The International Josquin Festival-Conference, 21-25 June 1971; 17. The Price of Literacy, or, Why We Need Musicology; 18. High, Sweet, and Loud; 19. Text and Act; Full Circle; 20. Stravinsky Lite (Even ""The Rite""); Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z |
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Sommario/riassunto |
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Over the last dozen years, the writings of Richard Taruskin have transformed the debate about ""early music"" and ""authenticity."" Text and Act collects for the first time the most important of Taruskin's |
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essays and reviews from this period, many of which now classics in the field. Taking a wide-ranging cultural view of the phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He goes on to contend that the movement is therefore far more valuable and even authentic than the historical ve |
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