鑑古演奏 (音樂)
參考資料

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1 2  . Historically Informed Performance.   [2020-10-20]. （原始内容存档于2015-01-06） （英语）.
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↑  Mattheson 1739, [页码请求].
↑  Colin Lawson and Robin Stowell (eds.), The Cambridge History of Musical Performance (Cambridge, England: Cambridge University Press, 2012):[页码请求].
↑  Kirkpatrick, Ralph. . New Haven: Yale University Press. 1984. [...] too often historical authenticity can be used as a means of escape from any potentially disquieting observance of esthetic values, and from the assumption of any genuine artistic responsibility. The abdication of esthetic values and artistic responsibilities can confer a certain illusion of simplicity on what the passage of history has presented to us, bleached as white as bones on the sands of time.
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1 2  Leech-Wilkinson, Daniel. . What we are doing with early music is genuinely authentic to such a small degree that the word loses most of its intended meaning. 1984.2. Historical research may provide us with instruments, and sometimes even quite detailed information on how to use them; but the gap between such evidence and a sounding performance is still so great that it can be bridged only by a large amount of musicianship and invention. Exactly how much is required can easily be forgotten, precisely because the exercise of musical invention is so automatic to the performer.  请检查|date=中的日期值 (帮助)
↑  Robert Philip, Early Recordings and Musical Style: Changing tastes in instrumental Performance, 1900-1950 (Cambridge, UK: Cambridge University Press, 1992), p. 239.
↑  《音樂美學》，1997年，p. 448
↑  Peter Hill, "'Authenticity in Contemporary Music," Tempo New Series no. 159 (1986.12), p. 2.
↑  徐頌仁. . 全音樂譜出版社. 1987: 7.
↑  Taruskin, Richard. . Last Thoughts First (New York: Oxford University Press). 1995: 5. What we had been accustomed to regard as historically authentic performances, I began to see, represented neither any determinable historical prototype nor any coherent revival of practices coeval with the repertories they addressed. Rather, they embodied a whole wish list of modern(ist) values, validated in the academy and the marketplace alike by an eclectic, opportunistic reading of historical evidence. [...] 'Historical' performers who aim 'to get to the truth'...by using period instruments and reviving lost playing techniques actually pick and choose from history's wares. And they do so in a manner that says more about the values of the late twentieth century than about those of any earlier era.
1 2 3  Goehr, Lydia. . New York: Oxford University Press. 1992.
Lawson, Colin; Stowell, Robin. . . Cambridge University Press. 1999: 17–18  [3 March 2018]. ISBN 9780521627382 （英语）.