Original sentence: In her book The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Lydia Goehr discusses the aims and fallacies of both proponents and critics of the HIP movement.It keeps our eyes open to the inherently critical and revisable nature of our regulative concepts.Most importantly, it helps us overcome that deep‐rooted desire to hold the most dangerous of beliefs, that we have at any time got our practices absolutely right.She distills the late 20th century arguments into two points of view, achieveing either fidelity to the conditions of performance, or fidelity to the musical work (her book is concerned with the idealization of the musical work).She notes that the HIP movement itself came about during the latter half of the 19th century as a reaction to the way modern techniques were being imposed upon music of earlier times.She succinctly summarizes the critics’ arguments (for example, anachronistic, selectively imputing current performance ideas on early music), but then concludes that what the HIP movement has to offer is a different manner of looking at and listening to music:  “It keeps our eyes open to the possibility of producing music in new ways under the regulation of new ideals.Thus performers were concerned with achieving an “authentic” manner of performing music--an ideal that carries implications for all those involved with music