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The Musical Work: Reality or Invention?Reality or Invention?$
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Michael Talbot

Print publication date: 2000

Print ISBN-13: 9780853238256

Published to Liverpool Scholarship Online: June 2013

DOI: 10.5949/UPO9781846313615

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 06 June 2020

Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
The Musical Work: Reality or Invention?
Author(s):

Michael Talbot

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9780853238256.003.0001

This book contains the proceedings of a symposium, held at the University of Liverpool's Institute of Popular Music on September 21, 1998 to address musical work. It offers eleven different perspectives on what it means to be (or not to be) a work. It considers the term ‘work’ and its use in the discourse around popular music, intertextuality and hypertextuality in recorded popular music within the framework of a set of concepts originally formulated by the literary critic Gérard Genette, the role of practice in driving popular music culture, and the recording industry's general tendency to continue to manipulate sounds after the initial performance is over. The book also looks at the pre-recital pianism in the early nineteenth century, as represented by such figures as Frédéric Chopin and Franz Liszt, as well as musical works and their arrangements in relation to Ferruccio Busoni and Franz Schubert. Finally, it considers the impact of commercialism and digitalisation on musical works and recordings.

Keywords:   Gérard Genette, musical work, popular music, intertextuality, hypertextuality, recording industry, pianism, commercialism, digitalisation, Franz Schubert

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