Skip to main content Accessibility help
×
  • Cited by 65
Publisher:
Cambridge University Press
Online publication date:
December 2009
Print publication year:
2002
Online ISBN:
9780511613555

Book description

Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors of the movement, while claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed. He also asks whether the phenomenon of historically informed performance reflects changes in the culture of western music and how it, in turn, may have influenced that culture, particularly in regard to such issues as the status of the composer, the work, intentionality and notation.

Reviews

'Playing with History carries with it the strength of a seminal work.'

Source: Classical Music

‘Few are better qualified than Butt to tackle this subject. His book is stimulating, thought provoking, rounded and readable … music students of all denominations should be encouraged to red this thorough yet economical discussion of these important contemporary issues.’

Source: The Strad

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Bibliography
Adams, Barbara, ‘Detraditionalization and the Certainty of Uncertain Futures’, Detraditionalization: Critical Reflections on Authority and Identity, ed. Paul Heelas, Scott Lash and Paul Morris (Oxford, 1996), pp. 134–48
Adorno, Theodor W., ‘Bach Defended against his Devotees’ (1951), Prisms, trans. Samuel and Shierry Weber (Cambridge, Mass., 1981), pp. 133–46
Adorno, Theodor W., Introduction to the Sociology of Music (Einleitung in die Musiksoziologie, Frankfurt, 1962), trans. E. B. Ashton (New York, 1976)
Adorno, Theodor W., ‘Der mißbrauchte Barock’, Ohne Leitbild (Frankfurt, 1967), pp. 133–57
Anderson, Perry, The Origins of Postmodernity (London, New York, 1998)
Andreae, Sophie, ‘From Comprehensive Development to Conservation Areas’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 135–55
Appleyard, Donald (ed.), The Conservation of European Cities (Cambridge, Mass., 1979)
Armstrong, Alan, ‘Gilbert-Louis Duprez and Gustave Roger in the Composition of Meyerbeer's Le Prophète’, Cambridge Opera Journal, 8 (1996), pp. 147–65
Attridge, Derek, ‘Language as History/History as Language: Saussure and the Romance of Etymology’, Post-Structuralism and the Question of History, ed. Derek Attridge, Geoff Bennington and Robert Young (Cambridge, 1987), pp. 183–211
Barnes, Julian, England, England (London, 1998)
Barthes, Roland, ‘The Death of the Author’, Image, Music, Text – Roland Barthes, Essays selected and translated by Stephen Heath (London, 1977), pp. 142–8
Baudrillard, Jean, Fatal Strategies (New York, 1990)
Baudrillard, Jean, The Consumer Society: Myths and Structures (London, 1998)
Bauman, Zygmunt, ‘Parvenu and Pariah: Heroes and Victims of Modernity’, The Politics of Postmodernity, ed. James Good and Irving Velody (Cambridge, 1998), pp. 23–35
Baxandall, Michael, Patterns of Intention – On the Historical Explanation of Pictures (New Haven and London, 1985)
Beardsley, Monroe, Aesthetics – Problems in the Philosophy of Criticism (New York, 1958)
Benjamin, Walter, ‘The Work of Art in the Age of Mechanical Reproduction’ (1936), Illuminations, trans. Harry Zohn, ed., with an introduction by Hannah Arendt (New York, 1968), pp. 217–51
Bennett, Tony, The Birth of the Museum: History, Theory, Policy (London, 1995)
Bent, Margaret, ‘Musica Recta and Musica Ficta’, Musica Disciplina, 26 (1972), pp. 73–100
Berger, Karol, ‘Musica ficta’, Performance Practice: Music Before 1600, ed. Howard Mayer Brown and Stanley Sadie (New York and London, 1989), pp. 107–25
Berger, Karol, A Theory of Art (New York, Oxford, 2000)
Bergeron, Katherine, Decadent Enchantments – The Revival of Gregorian Chant at Solesmes (Berkeley and Los Angeles, 1998)
Berrow, Jim, (ed.), Towards the Conservation and Restoration of Historic Organs (London, 2000)
Bilson, Malcolm, ‘The Viennese Fortepiano of the Late 18th Century’, Early Music, 8 (1980), pp. 158–69
Bilson, Malcolm, ‘The Future of Schubert Interpretation: What is Really Needed?’, Early Music, 25 (1997), pp. 715–22
Binney, Marcus, Our Vanishing Heritage (London, 1984)
Blackburn, Bonnie J., ‘On Compositional Process in the Fifteenth Century’, The Journal of the American Musicological Society, 40 (1987), pp. 210–84
Boorman, Stanley, ‘The Musical Text’, Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford and New York, 1999), pp. 403–23
Booth, Wayne, The Rhetoric of Fiction (Chicago, 1961)
Born, Georgina, Rationalizing Culture – IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley and Los Angeles, 1995)
Borsay, Peter, The Image of Georgian Bath, 1700–2000 (Oxford, 2000)
Bowen, José A., ‘The Conductor and the Score: The Relationship between Interpreter and Text in the Generation of Mendelssohn, Berlioz and Wagner’ (PhD Dissertation, Stanford University, 1993)
Bowen, José A., ‘Finding the Music in Musicology: Performance History and Musical Works’, Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford and New York, 1999), pp. 424–51
Brett, Philip, ‘Text, Context, and the Early Music Editor’, Authenticity and Early Music, ed. Nicholas Kenyon (Oxford, 1988), pp. 83–114
Britten, Benjamin, On Receiving the First Aspen Award (London, 1964)
Bujic, Bojan, ‘Notation and Realization: Musical Performance in Historical Perspective’, The Interpretation of Music – Philosophical Essays, ed. Michael Krausz (Oxford, 1993), pp. 129–40
Burstyn, Shai, ‘In Quest of the Period Ear’, Early Music, 25 (1997), pp. 693–701
Busse-Berger, Anna Maria, ‘Mnemotechnics and Notre Dame Polyphony’, The Journal of Musicology, 14 (1996), pp. 263–98
Busse-Berger, Anna Maria, ‘Die Rolle der Mündlichkeit in der Komposition der Notre Dame Polyphonie’, Das Mittelalter, 1 (1998), pp. 127–43
Butler, Rex, The Defence of the Real (London, 1999)
Butt, John, Bach Interpretation (Cambridge, 1990)
Butt, John, Music Education and the Art of Performance in the German Baroque (Cambridge, 1994)
Butt, John, ‘Bach Recordings since 1980: A Mirror of Historical Performance’, Bach Perspectives, 4, ed. David Schulenberg (Lincoln and London, 1999), pp. 181–98
Cage, John, Notations (New York, 1969)
Cahoone, Lawrence, (ed.), From Modernism to Postmodernism – An Anthology (Cambridge Mass. and Oxford, 1996)
Campana, Alessandra, ‘Mozart's Italian buffo Singers’, Early Music, 19 (1991), pp. 580–3
Cannadine, David, ‘The Context, Performance and Meaning of Ritual: The British Monarchy and the “Invention of Tradition”, c. 1820–1977’, The Invention of Tradition, ed. Eric Hobsbawm and Terry Ranger (Cambridge, 1983), pp. 101–64
Cannadine, David, The Pleasures of the Past (London, 1990)
Cascardi, Anthony, J., The Subject of Modernity (Cambridge, 1992)
Champion, Timothy, ‘Protecting the Monuments: Archaeological Legislation’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 38–56
Clark, T. J., Farewell to an Idea – Episodes from a History of Modernism (New Haven and London, 1999)
Close, A. J., ‘Don Quixote and the “Intentionalist fallacy”’, On Literary Intention, ed. David Newton-de Molina (Edinburgh, 1976), pp. 174–93
Cockcroft, Eva, ‘Abstract Expressionism, Weapon of the Cold War’, Artforum, 15/10 (1974), pp. 39–41. Reprinted in Frascina and Harris, Art in Modern Culture, pp. 82–90
Conforti, Giovanni Luca, Breve et facile maniera d'essercitarsi (Rome, 1593)
Cook, Nicholas, Music, Imagination and Culture (Oxford, 1990)
Cook, Nicholas, (ed.), with Mark Everist, ed., Rethinking Music, (Oxford and New York, 1999)
Cormack, Patrick, Heritage in Danger (London, 1978)
Crowther, Paul, Critical Aesthetics and Postmodernism (Oxford, 1993)
Dahlhaus, Carl, Foundations of Music History, trans. J. B. Robinson (Cambridge, 1983)
Dahlhaus, Carl, The Idea of Absolute Music, trans. Roger Lustig (Chicago, 1989)
Dahlhaus, Carl, Nineteenth-Century Music, trans. J. B. Robinson (Berkeley and Los Angeles, 1989)
Danto, Arthur C., After the End of Art – Contemporary Art and the Pale of History (Princeton, 1997)
Davies, Stephen, ‘The Aesthetic Relevance of Authors’ and Painters' Intentions', The Journal of Aesthetics and Art Criticism, 41, (1982–3), pp. 65–76
Davies, Stephen, ‘Authenticity in Musical Performance’, The British Journal of Aesthetics, 27 (1987), pp. 39–50
Davies, Stephen, ‘General Theories of Art Versus Music’, The British Journal of Aesthetics, 34 (1994), pp. 315–25
Dennett, Daniel C., The Intentional Stance (Cambridge, Mass., 1987)
Dipert, Randall R., ‘The Composer's Intentions: An Examination of their Relevance for Performance’, The Musical Quarterly, 66 (1980), pp. 205–18
Dixon, Graham, ‘The Performance of Palestrina: Some Questions, but Fewer Answers’, Early Music, 22 (1994), pp. 667–75
Dreyfus, Laurence, ‘Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century’, The Musical Quarterly, 69 (1983), pp. 297–322
Dreyfus, Laurence, Bach and the Patterns of Invention (Cambridge, Mass., 1996)
Dreyfus, Laurence, ‘Patterns of Authority in Musical Interpretation: Historical Performance at the Cross-Roads’ (forthcoming)
Dulak, Michelle, ‘The Quiet Metamorphosis of “Early Music”’, Repercussions, 2 (Fall 1993), pp. 31–61
Dürr, Walther, ‘Schubert and Johann Michael Vogl: a Reappraisal’, 19th-Century Music, 3 (1979), pp. 126–40
Eagleton, Terry, ‘Capitalism, Modernism and Postmodernism’, New Left Review, 152 (1985), pp. 60–73; reprinted in Waugh, Postmodernism, pp. 152–9 and in Frascina and Harris, Art in Modern Culture, pp. 91–100
Earl, John, ‘London Government: A Record of Custodianship’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 57–76
Eco, Umberto, Opera aperta (Milan, 1962), trans., with additional chapters, by Anna Cancogni with an introduction by David Robey, as The Open Work (Cambridge, Mass., 1989)
Eco, Umberto, Faith in Fakes, trans. William Weaver (London, 1986)
Edgar, David, ‘The New Nostalgia’, Marxism Today (March 1987), pp. 30–5
Ellis, Katherine, Music Criticism in Nineteenth-Century France: La Revue et Gazette Musicale de Paris, 1834–80 (Cambridge, 1995)
Elste, Martin, Meilensteine der Bach-Interpretation 1750–200– Eine Werkgeschichte im Wandel (Stuttgart, Weimar and Kassel, 2000)
Fabian, Dorottya, ‘J. S. Bach Recordings 1945–1975: St Matthew and St John Passions, Brandenburg Concertos and Goldberg Variations – A Study of Performance Practice in the Context of the Early Music Movement’, 2 vols. (PhD. Dissertation, University of New South Wales, 1998)
Feagin, Susan L., ‘On Defining and Interpreting Art Intentionalistically’, The British Journal of Aesthetics, 22 (1982), pp. 65–77
Fergusson, Adam, The Sack of Bath – and After: A Record and an Indictment (1973, extended edition: Salisbury, 1989)
Ferneyhough, Brian, Collected Writings, ed. James Boros and Richard Toop, with a foreword by Jonathan Harvey (Amsterdam, 1995)
Finscher, Ludwig, ‘Historisch getreue Interpretation – Möglichkeiten und Probleme’, Alte Musik in unsere Zeit – Referate und Diskussionen der Kasseler Tagung 1967, ed. Walter Wiora (Kassel, 1968), pp. 25–34
Fisher, John Andrew, and Potter, Jason, ‘Technology, Appreciation, and the Historical View of Art’, The Journal of Aesthetics and Art Criticism, 55 (1997), pp. 169–85
Foucault, Michel, The Order of Things: An Archaeology of the Human Sciences, Translation of Les Mots et les choses, 1966 (New York, 1970)
Fowler, Peter, J., The Past in Contemporary Society: Then, Now (London, 1992)
Frascina, Francis, and Jonathan Harris, eds., Art in Modern Culture – An Anthology of Critical Texts (London, 1992)
Fuller, David, ‘“Sous les doits de Chambonniere”’, Early Music, 21 (1993), pp. 191–202
Giddens, Anthony, Modernity and Self-Identity: Self and Society in the Late Modern Age (Cambridge, 1991)
Gidwitz, Patricia Lewy, ‘“Ich bin die erste Sängerin”: Vocal Profiles of Two Mozart Sopranos’, Early Music, 19 (1991), pp. 565–79
Goehr, Lydia, The Imaginary Museum of Musical Works (Oxford, 1992)
Goehr, Lydia, ‘“On the Problems of Dating” or “Looking Backwards and Forward with Strohm”’, The Musical Work: Reality or Invention, ed. Michael Talbot (Liverpool, 2000), pp. 231–46
Gossett, Philip, ‘Gioachino Rossini and the Conventions of Composition’, Acta Musicologica, 42 (1970), pp. 48–58
Godlovitch, Stan, ‘Performance Authenticity – Possible, Practical, Virtuous’, Performance and Authenticity in the Arts, ed. Salim Kemal and Ivan Gaskell (Cambridge, 1999), pp. 154–74
Greenberg, Clement, ‘Modernist Painting’ (Radio Lecture, 1961), reprinted in Art in Modern Culture – An Anthology of Critical Texts, ed. Francis Frascina and Jonathan Harris (London, 1992), pp. 308–14
Greenblatt, Stephen, Marvelous Possessions – The Wonder of the New World (Oxford, 1991)
Gurr, Andrew with John Orrell, Rebuilding Shakespeare's Globe (London, 1989)
Harnoncourt, Nikolaus, Baroque Music Today: Music as Speech, ed. Reinhard G. Pauly, trans. Mary O'Neill (Portland, Oregon, 1988)
Harris-Warrick, Rebecca, ‘The Parisian Sources of Donizetti's French Operas: The Case of La Favorite’, L'Opera Teatrale di Gaetano Donizetti – Proceedings of the International Conference on the Operas of Gaetano Donizetti, Bergamo, 1992, ed. Francesco Bellotto (Bergamo, 1993), pp. 77–90
Haskell, Harry, The Early Music Revival (London, 1988)
Haviland, Beverly, Henry James's Last Romance – Making Sense of the Past and the American Scene (Cambridge, 1997)
Hepokoski, James, ‘Overriding the Autograph Score: The Problem of Textual Authority in Verdi's “Falstaff”’, Studi Verdiani, 8 (1992), pp. 13–51
Hesse, Hermann, The Glass Bead Game (1943), trans. Richard and Clara Winston (Harmondsworth, England, 1972)
Hewison, Robert, The Heritage Industry: Britain in a Climate of Decline (London, 1987)
Hindemith, Paul, Johann Sebastian Bach – a speech delivered on 12 September, 1950 at the Bach commemoration of the city of Hamburg, Germany (New Haven, 1952)
Hobsbawm, Eric, ‘Mass-Producing Traditions: Europe, 1870–1914’, The Invention of Tradition, ed. Eric Hobsbawm and Terence Ranger (Cambridge, 1983), pp. 263–307
Hoyau, Philippe, ‘Heritage and “The Conserver Society”: The French Case’, The Museum Time-Machine, ed. R. Lumley (London, 1988)
Hucke, Helmut, ‘Towards a New Historical View of Gregorian Chant’, The Journal of the American Musicological Society, 33 (1980), pp. 437–67
Hunter, Michael, ‘The Preconditions of Preservation: A Historical Perspective’, Our Past Before Us – Why Do We Save it?, ed. David Lowenthal and Marcus Binney (London, 1981), pp. 22–32
Hunter, Michael, (ed.) Preserving the Past: The Rise of Heritage in Modern Britain (Stroud, 1996)
Hutchinson, Maxwell, The Prince of Wales: Right or Wrong? An Architect Replies (London, 1989)
Isemiger, Gary (ed.), Intention and Interpretation (Philadelphia, 1992)
James, Henry, The Sense of the Past (London, 1917), unfinished novel with the author's notes for completion
Jameson, Fredric, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC, 1991)
Jameson, Fredric, The Cultural Turn – Selected Writings on the Postmodern (London, New York, 1998)
Jeffery, Peter, Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (Chicago and London, 1992)
Kenyon, Nicholas, ed., Authenticity and Early Music (Oxford, 1988)
Kerman, Joseph, Musicology (London, 1985); US title: Contemplating Music
Kivy, Peter, The Fine Art of Repetition – Essays in the Philosophy of Music (Cambridge, 1993)
Kivy, Peter, Authenticities – Philosophical Reflections on Musical Performance (Ithaca and London, 1995)
Lang, Paul Henry, Editorial, The Musical Quarterly, 58 (1972), pp. 117–27
Lang, Paul Henry, Musicology and Performance, ed. Alfred Mann and George J. Buelow (New Haven, 1997)
Larue, C. Steven, Handel and his Singers: The Creation of the Royal Academy Operas, 1720–1728 (Oxford, 1995)
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’, Early Music, 12 (1984), pp. 13–16
Leech-Wilkinson, Daniel, ‘Yearning for the Sound of Medieval Music’ Mittelalter-Sehnsucht?: Texte des interdisziplinären Symposions zur musikalischen Mittelalterrezeption an der Universität Heidelberg, April 1998, ed. Annette Kreutziger-Herr and Dorothea Redepenning (Kiel, Vank, 2000), pp. 295–317
Leech-Wilkinson, Daniel, ‘Translating Medieval Music’ (in press)
Levenson, Michael H., A Genealogy of Modernism – A Study of English Literary Doctrine 1908–1922 (Cambridge, 1984)
Levin, Robert D., ‘Improvised Embellishments in Mozart's Keyboard Sonatas’, Early Music, 20 (1993), pp. 221–33
Levinson, Jerrold, Music, Art, and Metaphysics – Essays in Philosophical Aesthetics (Ithaca and London, 1990)
Levinson, Jerrold, The Pleasures of Aesthetics: Philosophical Essays (Ithaca and London, 1996)
Longenbach, James, Modernist Poetics of History – Pound, Eliot, and the Sense of the Past (Princeton, 1987)
Lowenthal, David, The Past is a Foreign Country (Cambridge, 1985)
Lowenthal, David, The Heritage Crusade and the Spoils of History (Cambridge, 1998); originally published as Possessed by the Past (New York, 1996)
Lowenthal, David, and Marcus Binney (eds.), Our Past Before Us – Why do we save it? (London, 1981)
Luckett, Richard, ‘The Revival of Early Music and the Suppositions of Cultural History’, unpublished MS (1986)
Lyotard, Jean-François, The Postmodern Condition: A Report on Knowledge (1979), trans. Geoff Bennington and Brian Massumi, with a foreword by Fredric Jameson (Manchester, 1984)
McGann, Jerome J., The Textual Condition (Princeton, 1991)
McGuigan, Jim, Culture and the Public Sphere (London and New York, 1996)
Mandler, Peter, ‘Nationalising the Country House’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 99–114
Mandler, Peter, The Fall and Rise of the Stately Home (New Haven and London, 1997)
Mattheson, Johann, Der vollkommene Capellmeister (Hamburg, 1739), trans. Ernest C. Harriss (Ann Arbor, 1981)
Molina, David Newton-de, ed., On Literary Intention (Edinburgh, 1976)
Montgomery, David, ‘Modern Schubert Interpretation in the Light of the Pedagogical Sources of His Day’, Early Music, 25 (1997), pp. 101–18
Morgan, Robert P., ‘Tradition, Anxiety, and the Current Musical Scene’, Nicholas Kenyon, ed., Authenticity and Early Music (Oxford, 1988), pp. 57–82
Murata, Margaret, (ed.), Strunk's Source Readings in Music History – Revised Edition, ed. Leo Treitler, vol. 4: The Baroque Era (New York and London, 1998)
Nattiez, Jean-Jacques, Music and Discourse: Toward a Semiology of Music (Princeton, 1990)
Newcomb, Anthony, ‘Schumann and the Marketplace: From Butterflies to Hausmusik’, Nineteenth-Century Piano Music, ed. R. Larry Todd (New York, 1990), pp. 258–315
Newcomb, Anthony, ‘Unnotated Accidentals in the Music of the Post-Josquin Generation: Mainly on the Example of Gombert's First Book of Motets for Four Voices’, Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, ed. Jessie Ann Owens and Anthony M. Cummings (Michigan, 1997), pp. 215–25
Niedt, Friedrich Erhard, The Musical Guide, Part 2 (1721), trans. and ed. by Pamela L. Poulin and Irmgard C. Taylor (Oxford, 1989)
Nietzsche, Friedrich, ‘On the Uses and Disadvantages of History for Life’ (1874), Untimely Meditations, trans. R. J. Hollingdale (Cambridge, 1983), pp. 57–123
Nietzsche, Friedrich, On the Genealogy of Morals (1887), trans. Douglas Smith (Oxford, 1996)
Norris, Christopher, The Truth about Postmodernism (Oxford and Cambridge Mass., 1993)
North, Roger, ‘The Excellent Art of Voluntary’, ed. John Wilson, Roger North on Music (London, 1959), pp. 133–45
O'Regan, Noel, ‘The Performance of Palestrina: Some Further Observations’, Early Music, 24 (1996), pp. 144–54
Paddison, Max, Adorno's Aesthetics of Music (Cambridge, 1993)
Page, Christopher, ‘The English a cappella Renaissance’, Early Music, 21 (1993), pp. 453–71
Parker, Roger, ‘A Donizetti Critical Edition in the Postmodern World’, L'Opera Teatrale di Gaetano Donizetti – Proceedings of the International Conference on the Operas of Gaetano Donizetti, Bergamo, 1992, ed. Francesco Bellotto (Bergamo, 1993), pp. 57–66
Philip, Robert, Early Recordings and Musical Style (Cambridge, 1992)
Rojek, Chris, Ways of Escape: Modern Transformations in Leisure and Travel (London, 1993)
Rorty, Richard, Contingency, Irony, and Solidarity (Cambridge, 1989)
Rosand, Ellen, Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley and Los Angeles, 1991)
Rose, Margaret, The Post-Modern and the Post-Industrial (Cambridge, 1991)
Rosebury, Brian, ‘Irrecoverable Intentions and Literary Interpretation’, The British Journal of Aesthetics, 37 (1997), pp. 15–30
Saint, Andrew, ‘How Listing Happened’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 115–34
Samson, Jim, ‘The Practice of Early-Nineteenth-Century Pianism’, The Musical Work: Reality or Invention?, ed. Michael Talbot (Liverpool, 2000), pp. 110–27
Samuel, Claude, Music and Color – Conversations with Claude Samuel/Olivier Messiaen (1986), trans. E. Thomas Glasow (Portland, 1994)
Samuel, Raphael, Theatres of Memory, vol. 1: Past and Present in Contemporary Culture (London, 1994)
Schwartz, Hillel, The Culture of the Copy – Striking Likenesses, Unreasonable Facsimiles (New York, 1996)
Scruton, Roger, The Aesthetics of Music (Oxford, 1997)
Scruton, Roger, On Hunting (London, 1998)
Seletsky, Robert E., ‘18th-Century Variations for Corelli's Sonatas, op. 5’, Early Music, 24 (1996), pp. 119–30
Sessions, Roger, The Musical Experience of Composer, Performer, Listener (Princeton, 1950)
Sharpe, R. A., ‘Music, Platonism and Performance: Some Ontological Strains’, The British Journal of Aesthetics, 35 (1995), pp. 38–48
Shelemay, Kay Kaufman, ‘Toward an Ethnomusicology of the early music Movement: Thoughts on Bridging Disciplines and Musical Worlds’, Ethnomusicology, 45 (2001), 1–29
Sherman, Bernard D., Inside Early Music – Conversations with Performers (New York and Oxford, 1997)
Silbiger, Alexander, ed., Keyboard Music Before 1700 (New York, 1995)
Smart, Mary Ann, ‘The Lost Voice of Rosine Stoltz’, Cambridge Opera Journal, 6 (1994), pp. 31–50
Somfai, László, Béla Bartók: Composition, Concepts, and Autograph Sources (Berkeley and Los Angeles, 1996)
Stamp, Gavin, ‘The Art of Keeping one Jump Ahead: Conservation Societies in the Twentieth Century’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 77–98
Stevens, Denis, ‘Some Observations on Performance Practice’, Current Musicology, 14 (1972), pp. 159–63
Stratton, Michael, ‘Open-air and Industrial Museums: Windows onto a Lost World or Graveyards for Unloved Buildings?’, Preserving the Past: The Rise of Heritage in Modern Britain, ed. Michael Hunter (Stroud, 1996), pp. 156–76
Strohm, Reinhard, The Rise of European Music 1380–1500 (Cambridge, 1993)
Strohm, Reinhard, ‘Looking Back at Ourselves: The Problem with the Musical Work-Concept’, The Musical Work: Reality or Invention?, ed. Michael Talbot (Liverpool, 2000), pp. 128–52
Suleiman, Susan R., and Inge Crosman (eds.), The Reader in the Text, (Princeton, 1980)
Talbot, Michael, ‘The Work-Concept and Composer-Centredness’, The Musical Work: Reality or Invention?, ed. Michael Talbot (Liverpool, 2000), pp. 168–86
Taruskin, Richard, Text and Act (New York and Oxford, 1995)
Treib, Marc, Space Calculated in Seconds – the Philips Pavilion – Le Corbusier – Edgard Varèse (Princeton, 1996)
Treitler, Leo, ‘The Early History of Music Writing in the West’, The Journal of the American Musicological Society, 35 (1982), pp. 237–79
Treitler, Leo, Music and the Historical Imagination (Cambridge, Mass., 1989)
Treitler, Leo, ‘The “Unwritten” and “Written” Transmission of Medieval Chant and the Start-up of Musical Notation’, The Journal of Musicology, 10 (1992), pp. 131–91
Treitler, Leo, ‘History and the Ontology of the Musical Work’, The Journal of Aesthetics and Art Criticism, 51 (1993), pp. 483–97
Urry, John, ‘How Societies Remember the Past’, Theorizing Museums: Representing Identity and Diversity in a Changing World, ed. Sharon Macdonald and Gordan Fyfe (Oxford, 1996), pp. 45–64, esp. 59–60
Tassel, Eric, ‘“Something Utterly New”: Listening to Schubert Lieder’, Early Music, 25 (1997), pp. 703–14
Walls, Peter, ‘Performing Corelli's Violin Sonatas, op. 5’, Early Music, 24 (1996), pp. 133–42
Waugh, Patricia, ed., Postmodernism: A Reader (London, New York, Melbourne, Auckland, 1992)
Weber, Max, Die rationalen und sozialen Grundlagen der Musik, appendix to Wirtschaft und Gesellschaft (written 1911, published Tübingen, 1921), trans. as The Rational and Social Foundations of Music, trans. and ed. Don Martindale, Johannes Riedel and Gertrude Neuwirth (Carbondale: Southern Illinois University Press, 1958)
Wegman, Rob C., ‘From Maker to Composer; Improvisation and Musical Authorship in the Low Countries, 1450–1500’, The Journal of the American Musicological Society, 49 (1996), pp. 409–79
Wegman, Rob C., ‘“Das musikalische Hören” in the Middle Ages and Renaissance: Perspectives from Pre-War Germany’, The Musical Quarterly, 82 (1998), pp. 434–54
Whenham, John, Claudio Monteverdi – Orfeo (Cambridge, 1986)
White, Hayden, Metahistory – The Historical Imagination in Nineteenth-Century Europe (Baltimore and London, 1973)
Wiener, Martin J., English Culture and the Decline of the Industrial Spirit 1850–1980 (Cambridge, 1981)
Williams, Raymond, ‘When Was Modernism?’, New Left Review, 175 (May/June, 1989), pp. 48–52. Reprinted in Francis Frascina, and Jonathan Harris, eds., Art in Modern Culture – An Anthology of Critical Texts (London, 1992), pp. 23–7
Wimsatt, W. K., ‘Genesis: a Fallacy Revisited’, On Literary Intention, ed. David Newton-de Molina (Edinburgh, 1976), pp. 116–38
Wimsatt, W. K., and Monroe Beardsley, ‘The Intentional Fallacy’, Sewanee Review, 54 (1946), pp. 468–88; Reprinted in On Literary Intention, ed. David Newton-de Molina (Edinburgh, 1976), pp. 1–13
Wollheim, Richard, Painting as an Art (Princeton, 1987)
Wright, Craig, Music and Ceremony at Notre Dame of Paris, 500–1550 (Cambridge, 1989)
Wright, Patrick, On Living in an Old Country (London, 1985)
Young, James O., ‘The Concept of Authentic Performance’, The British Journal of Aesthetics, 28 (1988), pp. 228–38
Zaslaw, Neal, ‘Ornaments for Corelli's Violin Sonatas, op. 5’, Early Music, 24 (1996), pp. 95–115

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.