LEADER 04002nam 2200577Ia 450 001 9910454674403321 005 20200520144314.0 010 $a1-281-98919-3 010 $a9786611989194 010 $a0-19-152001-2 035 $a(CKB)1000000000756399 035 $a(StDuBDS)AH24079637 035 $a(SSID)ssj0000176573 035 $a(PQKBManifestationID)12023122 035 $a(PQKBTitleCode)TC0000176573 035 $a(PQKBWorkID)10206346 035 $a(PQKB)11326041 035 $a(MiAaPQ)EBC3053152 035 $a(Au-PeEL)EBL3053152 035 $a(CaPaEBR)ebr10283470 035 $a(CaONFJC)MIL198919 035 $a(OCoLC)340722507 035 $a(EXLCZ)991000000000756399 100 $a19910725d1992 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe imaginary museum of musical works$b[electronic resource] $ean essay in the philosophy of music /$fLydia Goehr 210 $aOxford [England] $cClarendon Press ;$aNew York $cOxford University Press$dc1992 215 $a1 online resource (vii, 314 p.) 300 $aOriginally published: 1992. 311 $a0-19-824818-0 320 $aIncludes bibliographical references (p. [287]-299) and index. 330 $aWhat does it mean for musicians to be true to the works they perform, conduct, and evaluate? To answer the question, this book explores what it means philosophically, musically, and historically for musicians to speak about music in terms of 'works'. It describes how the concept of a musical work emerged, as late as 1800. 330 $bWhat 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 heal;' - 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". 606 $aMusic$xPhilosophy and aesthetics 606 $aMusic theory 608 $aElectronic books. 615 0$aMusic$xPhilosophy and aesthetics. 615 0$aMusic theory. 676 $a780/.1 700 $aGoehr$b Lydia$0954760 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910454674403321 996 $aThe imaginary museum of musical works$92159498 997 $aUNINA