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. $24.75, very good condition, Sold by ThriftBooks-Dallas rated 5.0 out of 5 stars, ships from Dallas, TX, UNITED STATES, published 1994 by Oxford University Press, USA.
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Very Good. 8vo-over 7¾-9¾" tall. Black pictorial soft cover with beige lettering on front cover and spine; cover shows light scuffing, rubbing, creasing, and shelf wear. Binding tight, pages very clean, handwritten name on half-title page is the only marking. 314 pages. Packaged carefully for shipment in cardboard with U. S. tracking. Oversized or heavy books may require extra postage for priority ot international shipment.
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Add this copy of The Imaginary Museum of Musical Works: An Essay in the to cart. $58.58, new condition, Sold by Ria Christie Books rated 5.0 out of 5 stars, ships from Uxbridge, MIDDLESEX, UNITED KINGDOM, published 2007 by Oxford University Press.
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.
