The musical work : reality or invention? / [electronic resource]
Liverpool Music Symposium(1st :1998 :University of Liverpool)
Talbot, Michael,editor.
Like literature and art, music has 'works'. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in these essays, which examine a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.
Title Page; Contents; Notes on Contributors; Introduction; 1: Some Thoughts on the Work in Popular Music; 2: Intertextuality and Hypertextuality in Recorded Popular Music; 3: Work-in(g)-Practice: Configurations of the Popular Music Intertext; 4: Work and Recordings:The Impact of Commercialisation and Digitalisation; 5: The Practice of Early-Nineteenth-Century Pianism; 6: Looking Back at Ourselves: The Problem with the Musical Work-Concept; 7: 'The Work':An Evaluative Charge; 8: The Work-Concept and Composer-Centredness
9: The Musical Artwork and its Materials in the Music and Aesthetics of Busoni10: Re-composing Schubert; 11: 'On the Problems of Dating' or 'Looking Backward and Forward with Strohm'; Index of Musical Compositions and Collections; Index of Personal Names
Includes bibliographical references and index.
Title from publisher's bibliographic system (viewed on 11 Aug 2017).
Like literature and art, music has 'works'. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in these essays, which examine a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.
Music