03932nam 22008654a 450 991095571250332120200520144314.097805111005980511100590978110712575911071257589781280436451128043645X9780511176562051117656297805110455090511045506978051115745505111574529780511304514051130451X97805116135550511613555978051101663905110166382027/heb06327(CKB)111087027191008(EBL)202208(OCoLC)475917195(SSID)ssj0000222690(PQKBManifestationID)11221245(PQKBTitleCode)TC0000222690(PQKBWorkID)10175433(PQKB)10892482(UkCbUP)CR9780511613555(Au-PeEL)EBL202208(CaPaEBR)ebr10019083(CaONFJC)MIL43645(MiAaPQ)EBC202208(dli)HEB06327(MiU)MIU01000000000000007294861(EXLCZ)9911108702719100820010830d2002 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierPlaying with history the historical approach to musical performance /John Butt1st ed.Cambridge ;New York Cambridge University Press20021 online resource (xvi, 265 pages) digital, PDF file(s)Musical performance and receptionTitle from publisher's bibliographic system (viewed on 05 Oct 2015).9780521013581 0521013585 9780521813525 0521813522 Includes bibliographical references (p. 243-252) and index.Cover; Half-title; Series-title; Title; Copyright; Contents; Preface; Acknowledgements; Abbreviations; 1 Joining the historical performance debate; 2 Historical performance and truth to the work': history and the subversion of Platonism; 3 Historical performance and truth to the composer': rehabilitating intention; 4 Negotiating between work, composer and performer: rewriting the story of notational progress; 5 Historical performance at the crossroads of modernis and postmodernismWhy do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors of the movement, while claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed. He also asks whether the phenomenon of historically informed performance reflects changes in the culture of western music and how it, in turn, may have influenced that culture, particularly in regard to such issues as the status of the composer, the work, intentionality and notation.Musical performance and reception.Performance practice (Music)MusicHistory and criticismPerformance practice (Music)MusicHistory and criticism.781.4/311Butt John385251MiAaPQMiAaPQMiAaPQBOOK9910955712503321Playing with history1889388UNINA