The Imaginary Museum of Musical Works : An Essay in the Philosophy of Music: An Essay in the Philosophy of Music

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Clarendon Press, Mar 26, 1992 - Electronic books - 324 pages
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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 among conductors, early music performers, and avant-gardists. - ;Introduction; I. The Analytic Approach: Status and identity: Analytical positions I; Analytical positions II; Critique and transition; II. The Historical Approach: Normativity and Practice: The central claim; Musical meaning I; Musical meaning II; Musical production I; Musical production II; Werktreue: Confirmation and challenge -
 

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Contents

INTRODUCTION
1
A Nominalist Theory of Musical Works
13
A Platonist Theory of Musical Works
44
The Limits of Analysis and the Need for History
69
The Central Claim
89
From Antiquity to the Enlightenment
120
Romantic Transcendence and
148
Musical Production without the WorkConcept
176
The Beethoven Paradigm
205
Confirmation and Challenge
243
Bibliography of Works Cited
287
Index
301
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