Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of globalization, (...) time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art museums to (...) theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

It is a widely accepted trope that museums work for future generations. They often define themselves in relation to heritage: something of the past, which is celebrated in the present and securely preserved for the future. In doing so, museums cloak themselves in a shroud of respectability for appropriately thinking in short and long terms and bravely facing future challenges. But what kind of future is at stake in this imperative to secure a heritage for future generations? Taking on a (...) deliberate speculative tone and a philosophical outlook, this essay attempts to address this question by suggesting that museums organize their work on the basis of three futures, entirely riveted to an economic understanding of temporality. Against these, the essay also proposes a fourth future that not only gives impetus to their existence, but also provides them with the only way out of the economic temporalities that govern their existence. (shrink)

In his fortieth anniversary commemoration of the Cooper Union Museum for the Arts and Decoration in 1937, John Dewey wrote confidently about the development of museums as educational institutions. As Dewey argued, “[o]ne of the most striking features of recent American culture has been the rapid growth of museums in all lines, artistic, commercial and industrial; of natural history, anthropology and antiquities.” Dewey explained that it “has become generally recognized” that museums “occupy as necessary a place in popular education as (...) do public libraries,” arguing that “[v]ision of [museums’] educational function has kept pace with their material expansion.” In general, Dewey contended, a “museum that is directed... (shrink)

This article compares the strategies between nine museums in Ecuador, Spain and Peru to address the educommunication activities developed as a result of the 2020 pandemic. Focused on content analysis, the research takes into account the activity of their web pages and the interaction on their social networks. The results show that in Spain informative and informative actions prevailed, while Ecuador and Peru focused on cultural and educational ones. The most relevant contents were oriented to the teaching-learning of heritage, mainly (...) through the development of webinars and online conferences. (shrink)

In this essay, I respond to Mary Beth Willard's commentary on Drawing the Line. I focus on responding to a number of questions and objections that Willard poses concerning the role of arts institutions in addressing the problem of immoral artists. Focusing on the case of museums in particular, I defend the idea that they can exercise their power to play a productive and important role in societal conversations about moral criticism of artists.

In recent years, the contribution of various disciplines and professionals (i.e. from marketing, computer science, psychology and pedagogy) to museum management has encouraged the development of a new conception of museology. Specifically, psychology has affected the overall conception of museum and the visitors towards a more holistic vision of the museum experience as a complexity of memory, personal drives, group identity, meaning-making process, as well as leisure preferences. In this regard, psychological research contributes to advance the scientific knowledge about psychological (...) and social phenomena related to the visitor experience, as well as to design innovative technologies and future tourism services. The present contribution discusses the Socio-Cultural Activity Theory as a theoretical framework to conceptualize the museum visit as an activity mediated by the technology, and to better identify the factors shaping the interaction between the visitors and the technologies. To do so, a case study is presented: a qualitative research performed at the Ara Pacis Museum in Rome (Italy) to analyze the visitor experience of a tour that integrates augmented and virtual reality. Information derived from applying Activity Theory on visitors’ experience highlight the value of technology as mediating tool between the museum mission and the visitor experience, considering the interaction between visitors’ characteristics, museum environmental dimensions and technology’s features. (shrink)

This paper reflects on affect and emotion as they relate to poetics — her/histories — in twenty-first century museums. Using specific examples, it considers the ways in which collections of material culture hold diverse meanings and how ideas are communicated to audiences over time and space but might also be challenged through imaginative activity. Key objects, exhibitions and activities discussed highlight masculinities at work in museums and include the temporary art installations by Yinka Shonibare and Fred Wilson in the Victoria (...) and Albert Museum's (V&A) Norfolk House Music Room in 2007; the portrait in oils of the Jamaican scholar Francis Williams, painted by an anonymous artist around 1745; and a contemporary oral commentary by Benjamin Zephaniah in the V&A British Galleries, which are considered through a feminist lens of poetics. (shrink)

Although museums of all kinds continue to proliferate, they have lost the capacity to generate big ideas that characterize epistemic shifts, such as evolution, the labour theory of value, or relativity. They have become mere echo chambers for ideas proposed elsewhere. How might museums regain their capacity to generate big ideas? The development of a Tangible Turn in scholarly thinking is leading to a reinvigoration of knowledge claims derived from material things. Museums are well placed to participate in such a (...) reinvigoration, and in some instances – notably in the natural sciences – already are. Yet to do so they must overcome the taxonomic and systematic divisions that in the nineteenth century stimulated but now inhibit creative thinking. How can disciplinary ossification associated with collection definition be overcome? Two possible models are artists' interventions and arrangement according to philosophical principles, yet neither is sufficient. Curatorial scholars should acknowledge the physical and cultural instability of tangible things, and work with these properties to combine things in revelatory ways, eschewing stable categories. This can be accomplished most effectively in museums associated with universities through collaboration among the scholarly staffs of university collections and with university faculty. (shrink)

This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation which takes (...) on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever. (shrink)

In Black Museum, a young woman is out to take revenge on the man who imprisoned her father's digital self in a museum exhibit that allows sadistic visitors to reenact his execution. While the exhibit is morally detestable and some may think that the museum's curator gets what he deserves in the end, the woman's act of vengeance is morally disturbing. This chapter explores Martha Nussbaum's account of anger and forgiveness and considers Christian and Buddhist teachings. An argument by David (...) Kyle Johnson for the moral permissibility of revenge under certain circumstances is considered and rejected. The authors conclude that the act of revenge in Black Museum is not morally justified. (shrink)

I hope you will agree, however, that the purpose of the museum should ultimately be to teach the difference between pencils and works of art. What I have called the shrine was set up and visited by people who thought that they knew this difference. You approached the exhibits with an almost religious awe, an awe which certainly was sometimes misplaced but which secured concentration. Our egalitarian age wants to take the awe out of the museum. It should be a (...) friendly place, welcoming to everyone. Of course it should be. Nobody should feel afraid to enter it or for that matter be kept away by his inability to pay. But as far as I can see the real psychological problem here is how to lift the burden of fear, which is the fear of the outsider who feels he does not belong, without also killing what for want of a better word I must still call respect. Such respect seems to me inseparable from the thrill of genuine admiration which belongs to our enjoyment of art. This admiration is a precious heritage which is in danger of being killed with kindness. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His books include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, Norm and Form, Symbolic Images, The Heritage of Apelles, and In Search of Cultural History. He became a Fellow of the British Academy in 1960, a Commander of the British Empire in 1966, and was knighted in 1972. He is also a trustee of the British Museum and a foreign member of the American Academy of Arts and Sciences and of the American Philosophical Society. His contributions to Critical Inquiry include "Notes and Exchanges", "Standards of Truth: The Arrested Image and the Moving Eye", and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence". (shrink)

"Time and the Museum: Literature, Phenomenology, and the Production of Radical Temporality, is the first explicit in-depth study of the nature of museum temporality. It argues as its departure point that the way in which museums have hitherto been understood as temporal in the scholarship - as spaces of death, othering, memory and history - is too simplistic, and has resulted in museum temporality being reduced to a strange heterotopia (Foucault) - something peculiar, and thus black boxed. However, to understand (...) the ways in which museum temporalities and timescapes are produced, and the consequences that these have upon display and visitor response, is crucial, because time is itself a political entity, with ethical consequence. Time and the Museum highlights something we all experience in some way - time - as a key ethical and political feature of the museum space. Utilizing the fields of literature and phenomenology, the book examines how time is experienced and performed in the public areas of three museum spaces within Oxford - the Ashmolean, Pitt Rivers, and Oxford University Museum of Natural History. Using concepts such as shape, structure, form, presence, absence, authenticity and aura, the book argues for a reconsideration of museum time as something with radical potential and political weight. It will appeal to academics and post"--. (shrink)

Presents reflections on museum philosophy for the 21st century from an international group of contributors.

This chapter is written from the perspective of a practitioner and explores a range of paradoxes in museums and in the museological literature which may serve as starting points for conversations with philosophers. These include questions of definition and mission, intrinsic versus instrumental value, whether museums actively shape society or serve as a passive reflection, whether their main function is to produce liberating knowledge or express communal identities, whether traditional or progressive museums are the most ‘traditional’, whether museums are trying (...) to serve idealized or real visitors and, ultimately, whether museums are rational or ritual institutions. (shrink)

Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context (...) have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to pre- serve works of art. Skepticism deserves attention, for such varied influential commenta- tors as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans-Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valery hold this pessimistic view of muse- ums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepti- cism is indefensible, I argue, because it fails to take account of the continuities in the his- tory of art's display. But Intentionalism is also deficient because it is ahistorical. In pre- senting the history of Piero's painting, The Travels and Tribulations of Piero 's Baptism of Christ shows that we can re-identify the original significance of Piero's work and the rec- ognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art. (shrink)

In the Spring of 1944, an informal discussion took place in Cambridge between Mr. R. S. Whipple, Professor Allan Ferguson and Mr. F. H. C. Butler, concerning the formation of a national Society for the History of Science. This is the opening sentence of the inaugural issue of the Bulletin of the British Society for the History of Science, the Society's first official publication. Butler himself was the author of this outline account of the subsequent approach to the Royal Society, (...) the parallel moves to establish a National Committee of the International Academy of the History of Science, the formation of a provisional committee to prepare a draft constitution for a national society, and the proceedings of the first Annual General Meeting in May 1947. Whipple had been in Cambridge to discuss his offer to present his collection of old scientific instruments to the University and the possible foundation of a new museum, and Butler, as Secretary of the History of Science Committee in Cambridge, was the chief mover in both this development and an initiative coupled with it to establish a department of the history of science. (shrink)

This article maybe used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden.

Many millions of geological specimens are contained in geological museums throughout the world. These collections, some of which date back to the sixteenth century, constitute a rich resource for historians of the geological sciences. The utilization of this resource has been uneven, due to a number of factors, including the background of the researcher, and the state of the collections. In the past two decades major strides have been made in the documentation of collections held in British museums, and compendia, (...) including those for collections in other countries, are now available. Geological collections provide quality primary source material, and can shed light on a range of interesting topics including the nature and scope of geological travels, the often complex relationships between geologists and collectors, and the rationale behind the formulation of geological theories by earlier geologists. (shrink)

The purpose of this study was to examine how elementary preservice teachers ( n = 35) experienced museums as potential sites for K-5 students to read museums using two lenses: to learn the history of the place in which they live and examine how museum authors craft texts to tell those stories. Along with exploring historical content, preservice teachers studied the museum as an informational text. Through this experience, preservice teachers discovered: 1) the five informational text structures museum authors used (...) to present information and 2) how museum authors conveyed contemporary and social issues using various forms of writing. Additionally, the museum experience provided a context in which the preservice teachers could engage in critical literacy practices. (shrink)

The article is an overview of the growth of an interest in painting, from the mid-sixteenth to the mid-nineteenth century, among a public not much involved in either the production or purchase of works of art. For the earlier period the main evidence is provided by guidebooks and other publications of a more general type, especially in Italy, which often incorporated the names of leading artists, but seldom provided information about their careers or where their works could be seen. This (...) situation only began to change in a significant way in the second half of the seventeenth century. From that time onwards a new type of publication appeared, that is to say catalogues of major collections of paintings usually open to members of the public. This development was particularly evident in Germany and later in Austria. Such publications rarely included much historical or chronological information about the artists themselves, and the collections were only rarely arranged on geographical or chronological lines, a practice at first mainly confined to early paintings which previously had rarely been displayed at all. A more didactic and historical approach to display and to the compilation of museum catalogues only emerged from around 1850, after Frédéric Villot, curator of paintings at the Louvre, created the model for a new type of catalogue intended both as a contribution to art-historical knowledge and as a source of information for visitors. (shrink)

The protection of cultural relics has always been an important issue in the field of museums and archaeology. With the development of Internet of Things technology, the security system of the museum is more intelligent and integrated. In order for the museum display system to keep up with the intelligent age, this article mainly studies the research and realization of the museum showcase system based on the Internet of Things technology in a smart environment. Before the start of the experiment, (...) we developed the overall design of the system, including three functional modules: temperature module, illumination module, and monitoring module. The experiment is done mainly for system testing. The performance test of the sensor module needs to sample the temperature and humidity sensor to verify the accuracy of the temperature and humidity signal collected in the instrument circuit. The light information collection test uses the ADC sampling inside the CC2530 to obtain the required data and judges whether these temperature, humidity, and light intensity values exceed the preset values. The serial port needs to be initialized to carry out data communication and transmission normally. After the receiving end finishes receiving, the sending end will clear the data buffer to prepare for the next data transmission. The experimental data show that the error between the predicted value and measured value of the temperature system is about 3°C, which is within the allowable error range of the experiment. The results show that the system has perfect functions, is safe and reliable, meets the expected requirements, and has good practicability. (shrink)

Many millions of geological specimens are contained in geological museums throughout the world. These collections, some of which date back to the sixteenth century, constitute a rich resource for historians of the geological sciences. The utilization of this resource has been uneven, due to a number of factors, including the background of the researcher, and the state of the collections. In the past two decades major strides have been made in the documentation of collections held in British museums, and compendia, (...) including those for collections in other countries, are now available. Geological collections provide quality primary source material, and can shed light on a range of interesting topics including the nature and scope of geological travels, the often complex relationships between geologists and collectors, and the rationale behind the formulation of geological theories by earlier geologists. (shrink)

Friedrich Engels ist wieder aktuell. Angesichts der globalen Wirtschafts- und Finanzkrisen der letzten Jahre werden die Analysen von Karl Marx und Friedrich Engels wieder offentlich diskutiert, erleben eines ihrer vielen Revivals in der Geschichte. Es scheint fast so, als wurde jede Generation Marx und Engels wieder neu fur sich entdecken und ihre Interpretationen mit Blick auf die jeweils gegenwartigen Transformationen der burgerlichen Gesellschaft und der kapitalistischen Okonomie neu reflektieren. Der Band macht sich stark fur eine Lesart von Engels, die dessen (...) theoretisch-konzeptionelles Eigengewicht wurdigt und es zwar im Marxschen Kontext liest, aber betont, dass gerade mit Blick auf das Thema Staatstheorie und Staatskritik die "marxistische" Theorie eigentlich eine "engelsche" ist. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of the rapid (...) changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museum Education and the Project of Interpretation in the Twenty-First CenturyRika Burnham and Elliott Kai-KeeThis is what we shall look for as we move: freedom developed by human beings who have acted to make a space for themselves in the presence of others, human beings become "challengers" ready for alternatives, alternatives that include caring and community. And we shall seek, as we go, implications for emancipatory education conducted by (...) and for those willing to take responsibility for themselves and for each other. We want to discover how to open spaces for persons in their plurality, spaces where they can become different, where they can grow.—Maxine Greene, The Dialectic of Freedom, 56In the art museum of the future, we walk into a gallery in which the hum of conversation fills the space. A small group of visitors clusters around a single work of art, exchanging their observations, led quietly in their conversation by a museum educator. The group has gathered for a program in which visitors are invited into a dialogue with the educator, with each other, and above all, with the artwork. As this group's conversation concludes, other groups will take their place, attending to different works of art, unfolding them in different ways.We share with David Carrier a vision of the future museum rooted in the Enlightenment dream of a sphere of conversation accessible to all citizens, a public museum space "devoted to a genuinely democratic talk about visual art." In such a museum the galleries are not primarily considered places where art historical information is transferred. They are instead redefined as places where conversation takes place around works of art and where the project of interpretation is constantly enacted.The educators who are responsible for these conversations have a central place in the future museum. Once charged with translating curatorial interpretations to the public, educators are now charged with including everyone [End Page 11] in the translation of the artworks. Knowledgeable in the collections and experienced with audiences, they bring people and works of art together for appreciation and exploration. Engaged in the exchange of thoughts and observations about artworks, carried into the back-and-forth flow of discussion about the artworks, visitors translate impressions into conjectures, and, ideally, understanding and interpretation.Visitors come to the museum to learn about art through gallery conversations during which they actively take part in a form of interpretive play that animates, and in a sense performs, works of art as visitors look at them and talk about them. When the play is successful, it is full of energy and passion. The museum galleries become active places where ideas are freely exchanged, where hermeneutic improvisation and experimentation are encouraged and valued.The constantly recurring play of art makes the museum a place of interpretive freedom, open to many viewpoints and the possibility of multiple interpretations. Educator and visitor both realize that understandings of works of art are never complete. They know that every conversation opens the artworks to the possibility of new meanings and new interpretations.In the museum of the future, the mission of offering visitors such special experiences is not distinct from the museum's traditional charge of caring for the objects in its collections. For it is only when visitors attend to the works of art, and interpret them, that the artworks come alive. As John Dewey said almost a century ago, the work of art comes alive in the viewer's experience. Visitors, educators, and curators share in the endeavor of making sense of works of art, each taking their own part in the process of bringing them to life with their scrutiny, and keeping them alive as they interpret and reinterpret them.The deepest and most affecting experiences visitors have in art museums are those in which they share in the unfolding, unraveling, and translation of the meaning of artworks. In the museum of the future, everyone is invited into such conversations. Everyone understands that they are important participants in the lives of the objects displayed there, as they take part in the play of interpretation that dances around them.Museums are first and foremost for people; they are... (shrink)

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. (shrink)