David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Oxford University Press (1992)
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 this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. 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.
|Keywords||Music Philosophy and aesthetics|
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|Call number||ML3800.G576 1992|
|ISBN(s)||0198248180 0195324781 9780198248187|
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Citations of this work BETA
Andrew Kania (2009). Musical Recordings. Philosophy Compass 4 (1):22-38.
Panagiotis A. Kanellopoulos (2012). Envisioning Autonomy Through Improvising and Composing: Castoriadis Visiting Creative Music Education Practice. Educational Philosophy and Theory 44 (2):151-182.
Paul Thom (2011). Aesthetics of Opera. Philosophy Compass 6 (9):575-584.
Ian Cross (2013). “Does Not Compute”? Music as Real-Time Communicative Interaction. AI and Society 28 (4):415-430.
Mark J. Butler (2001). Communication and the Musical Pyramid: On the Nature and Function of Musical Communities. Semiotica 2001 (133).
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