LEADER 03633nam  22007334a 450 
001 9910814613603321
005 20200520144314.0
010   $a0-511-10059-0
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
024 7 $a2027/heb06327
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(Au-PeEL)EBL202208
035   $a(CaPaEBR)ebr10019083
035   $a(CaONFJC)MIL43645
035   $a(MiAaPQ)EBC202208
035   $a(dli)HEB06327
035   $a(MiU)MIU01000000000000007294861
035   $a(EXLCZ)99111087027191008
100   $a20010830d2002      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
205   $a1st ed.
210   $aCambridge ;$aNew York $cCambridge University Press$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$0385251
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910814613603321
996   $aPlaying with history$91889388
997   $aUNINA