Oxford University Press (1992)
AbstractWhat 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.
Similar books and articles
The Music Between Us: Is Music a Universal Language?Kathleen Marie Higgins - 2012 - University of Chicago Press.
The Quest for Voice: Music, Politics, and the Limits of Philosophy.Lydia Goehr - 2002 - Oxford University Press.
Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford University Press.
Musical Ontology. Sounds, Instruments and Works of Music / Julian Dodd ; Doing Justice to Musical Works / Michael Morris ; Versions of Musical Works and Literary Translations.Stephen Davies - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures.Lydia Goehr - 1998 - Oxford University Press.
Added to PP
Historical graph of downloads
Citations of this work
Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
References found in this work
No references found.