LEADER 03466nam 22006612 450 001 9910455605903321 005 20151005020623.0 010 $a1-107-12575-8 010 $a1-280-43645-X 010 $a0-511-17656-2 010 $a0-511-04550-6 010 $a0-511-15745-2 010 $a0-511-30451-X 010 $a0-511-61355-5 010 $a0-511-01663-8 035 $a(CKB)111087027191008 035 $a(EBL)202208 035 $a(OCoLC)475917195 035 $a(SSID)ssj0000222690 035 $a(PQKBManifestationID)11221245 035 $a(PQKBTitleCode)TC0000222690 035 $a(PQKBWorkID)10175433 035 $a(PQKB)10892482 035 $a(UkCbUP)CR9780511613555 035 $a(MiAaPQ)EBC202208 035 $a(Au-PeEL)EBL202208 035 $a(CaPaEBR)ebr10019083 035 $a(CaONFJC)MIL43645 035 $a(EXLCZ)99111087027191008 100 $a20090914d2002|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPlaying with history $ethe historical approach to musical performance /$fJohn Butt$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2002. 215 $a1 online resource (xvi, 265 pages) $cdigital, PDF file(s) 225 1 $aMusical performance and reception 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-01358-5 311 $a0-521-81352-2 320 $aIncludes bibliographical references (p. 243-252) and index. 327 $aCover; 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 postmodernism 330 $aWhy do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors of the movement, while claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed. He also asks whether the phenomenon of historically informed performance reflects changes in the culture of western music and how it, in turn, may have influenced that culture, particularly in regard to such issues as the status of the composer, the work, intentionality and notation. 410 0$aMusical performance and reception. 606 $aPerformance practice (Music) 606 $aMusic$xHistory and criticism 615 0$aPerformance practice (Music) 615 0$aMusic$xHistory and criticism. 676 $a781.4/311 700 $aButt$b John$0385251 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910455605903321 996 $aPlaying with history$91889388 997 $aUNINA