In this book, Lydia Goehr describes how the concept of a musical work fully crystallized around 1800, and subsequently defined the norms, expectations, and behavioral patterns that have come to characterize classical musical practice. The description is set in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions; at the same time, debates amongst conductors, early-music performers, and avant-gardists are addressed.
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In this book, Lydia Goehr describes how the concept of a musical work fully crystallized around 1800, and subsequently defined the norms, expectations, and behavioral patterns that have come to characterize classical musical practice. The description is set in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions; at the same time, debates amongst conductors, early-music performers, and avant-gardists are addressed.
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Add this copy of The Imaginary Museum of Musical Works: An Essay in the to cart. $45.45, good condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 2007 by Oxford University Press, USA.
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Good. Ships in a BOX from Central Missouri! May not include working access code. Will not include dust jacket. Has used sticker(s) and some writing or highlighting. UPS shipping for most packages, (Priority Mail for AK/HI/APO/PO Boxes).
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Fine. Trade paperback (US). Glued binding. 368 p. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
To a reader who is deeply enmeshed in composition and performance of the "classical" repertoire, this investigation offers little new insight. Some segments are enjoyable in terms of transcending conventional norms of music criticism, but the great lengths exploring artificial criteria (e.g., why Beethoven's Fifth should be considered a landmark) remain oddly inconclusive.
