Oxford University Press (1992)

Authors
Lydia Goehr
Columbia University
Abstract
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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Reprint years 2007
Call number ML3800.G576 1992
ISBN(s) 0198248180   0195324781   9780198248187   9780195324785
DOI 10.2307/431899
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Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
Performing Works of Music Authentically.Julian Dodd - 2015 - European Journal of Philosophy 23 (3):485-508.
The Philosophy of Music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
The Definition of Art.Thomas Adajian - 2008 - Stanford Encyclopedia of Philosophy.

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