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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, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 21 September 2021

Looking Back at Ourselves: The Problem with the Musical Work-Concept

Looking Back at Ourselves: The Problem with the Musical Work-Concept

Chapter:
(p.128) 6 Looking Back at Ourselves: The Problem with the Musical Work-Concept
Source:
The Musical Work: Reality or Invention?
Author(s):

Reinhard Strohm

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9780853238256.003.0007

This chapter examines the problem with the musical work-concept and considers precedents in Renaissance music for both work-status and the work-concept. It looks at the history of the debate over the nature of the musical work and the existence (or not) of a watershed in music history during the late eighteenth or early nineteenth century. It argues that the work is a robust, long-established concept within Western art music. The chapter also discusses Lydia Goehr's history of the work-concept, which implies the confusion of philosophical aesthetics with historiography, as well as alternative narratives of musical work, such as Michael Talbot's account.

Keywords:   Renaissance music, musical work, work-status, work-concept, art music, Lydia Goehr, historiography, Michael Talbot

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