The Resource The imaginary museum of musical works : an essay in the philosophy of music, Lydia Goehr
The imaginary museum of musical works : an essay in the philosophy of music, Lydia Goehr
Resource Information
The item The imaginary museum of musical works : an essay in the philosophy of music, Lydia Goehr represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri-St. Louis Libraries.This item is available to borrow from 1 library branch.
Resource Information
The item The imaginary museum of musical works : an essay in the philosophy of music, Lydia Goehr represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri-St. Louis Libraries.
This item is available to borrow from 1 library branch.
- Summary
-
- "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 amongst conductors, early-music performers, and avant-gardists."--Jacket
- "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 amongst conductors, early-music performers, and avant-gardists."--BOOK JACKET
- Language
- eng
- Extent
- vii, 314 pages
- Contents
-
- pt. I. The Analytic Approach. 1. A Nominalist Theory of Musical Works. 2. A Platonist Theory of Musical Works. 3. The Limits of Analysis and the Need for History
- pt. II. The Historical Approach. 4. The Central Claim. 5. Musical Meaning: From Antiquity to the Enlightenment. 6. Musical Meaning: Romantic Transcendence and the Separability Principle. 7. Musical Production without the Work-Concept. 8. After 1800: The Beethoven Paradigm. 9. Werktreue: Confirmation and Challenge in Contemporary Movements
- Isbn
- 9780198248187
- Label
- The imaginary museum of musical works : an essay in the philosophy of music
- Title
- The imaginary museum of musical works
- Title remainder
- an essay in the philosophy of music
- Statement of responsibility
- Lydia Goehr
- Language
- eng
- Summary
-
- "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 amongst conductors, early-music performers, and avant-gardists."--Jacket
- "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 amongst conductors, early-music performers, and avant-gardists."--BOOK JACKET
- Cataloging source
- DLC
- http://library.link/vocab/creatorName
- Goehr, Lydia
- Dewey number
- 780/.1
- Index
- index present
- LC call number
- ML3800
- LC item number
- .G576 1992
- Literary form
- non fiction
- Nature of contents
- bibliography
- http://library.link/vocab/subjectName
-
- Music
- Musique
- Muziekfilosofie
- Musique
- Musikphilosophie
- Musikästhetik
- Label
- The imaginary museum of musical works : an essay in the philosophy of music, Lydia Goehr
- Bibliography note
- Includes bibliographical references (pages [287]-299) and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- pt. I. The Analytic Approach. 1. A Nominalist Theory of Musical Works. 2. A Platonist Theory of Musical Works. 3. The Limits of Analysis and the Need for History -- pt. II. The Historical Approach. 4. The Central Claim. 5. Musical Meaning: From Antiquity to the Enlightenment. 6. Musical Meaning: Romantic Transcendence and the Separability Principle. 7. Musical Production without the Work-Concept. 8. After 1800: The Beethoven Paradigm. 9. Werktreue: Confirmation and Challenge in Contemporary Movements
- Control code
- 24246437
- Dimensions
- 23 cm
- Extent
- vii, 314 pages
- Isbn
- 9780198248187
- Lccn
- 91028284
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- System control number
- (WaOLN)1431905
- Label
- The imaginary museum of musical works : an essay in the philosophy of music, Lydia Goehr
- Bibliography note
- Includes bibliographical references (pages [287]-299) and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- pt. I. The Analytic Approach. 1. A Nominalist Theory of Musical Works. 2. A Platonist Theory of Musical Works. 3. The Limits of Analysis and the Need for History -- pt. II. The Historical Approach. 4. The Central Claim. 5. Musical Meaning: From Antiquity to the Enlightenment. 6. Musical Meaning: Romantic Transcendence and the Separability Principle. 7. Musical Production without the Work-Concept. 8. After 1800: The Beethoven Paradigm. 9. Werktreue: Confirmation and Challenge in Contemporary Movements
- Control code
- 24246437
- Dimensions
- 23 cm
- Extent
- vii, 314 pages
- Isbn
- 9780198248187
- Lccn
- 91028284
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- System control number
- (WaOLN)1431905
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