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|a ML3800
|b .G576 1992
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| 100 |
1 |
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|a Goehr, Lydia.
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| 245 |
1 |
4 |
|a The imaginary museum of musical works :
|b an essay in the philosophy of music /
|c Lydia Goehr.
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| 260 |
|
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|a Oxford [England] :
|b Clarendon Press ;
|a New York :
|b Oxford University Press,
|c 1992.
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| 300 |
|
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|a vii, 314 pages ;
|c 23 cm
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| 336 |
|
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|a text
|b txt
|2 rdacontent
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| 337 |
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|a unmediated
|b n
|2 rdamedia
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| 338 |
|
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|a volume
|b nc
|2 rdacarrier
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| 504 |
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|a Includes bibliographical references (pages 287-299) and index.
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| 520 |
1 |
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|a "What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer such questions, Lydia Goehr combines philosophical and historical methods of enquiry. Finding Anglo-American philosophy inadequate for the task, she shows that a historical perspective is indispensable to a full understanding of musical ontology. Goehr examines the concepts and assumptions behind the practice of classical music in the nineteenth century and demonstrates how different they were from those of previous centuries. She rejects the finding that the concept of a musical work emerged in the sixteenth century, placing its emergence instead around 1800. She describes how the concept of a work then came to define the norms, expectations, and behaviour that we now associate with classical music. Out of the historical thesis Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists."--Jacket.
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| 505 |
0 |
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|a pt. I. The Analytic Approach. 1. A Nominalist Theory of Musical Works. 2. A Platonist Theory of Musical Works. 3. The Limits of Analysis and the Need for History -- pt. II. The Historical Approach. 4. The Central Claim. 5. Musical Meaning: From Antiquity to the Enlightenment. 6. Musical Meaning: Romantic Transcendence and the Separability Principle. 7. Musical Production without the Work-Concept. 8. After 1800: The Beethoven Paradigm. 9. Werktreue: Confirmation and Challenge in Contemporary Movements.
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| 650 |
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0 |
|a Music
|x Philosophy and aesthetics.
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| 650 |
|
7 |
|a Music
|x Philosophy and aesthetics
|2 fast
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| 650 |
|
7 |
|a Music
|x Philosophy and aesthetics.
|2 nli
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| 653 |
0 |
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|a Music
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| 776 |
0 |
8 |
|i Online version:
|a Goehr, Lydia.
|t Imaginary museum of musical works.
|d Oxford [England] : Clarendon Press ; New York : Oxford University Press, 1992
|w (OCoLC)755194797
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| 938 |
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|p Can Circulate
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|b Main Campus
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|e ML 3800 .G576 1992
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|i Book
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