Hostname: page-component-7bb8b95d7b-wpx69 Total loading time: 0 Render date: 2024-10-06T15:11:32.121Z Has data issue: false hasContentIssue false
  • English
  • Français

‘Authenticity’ in Contemporary Music

Published online by Cambridge University Press:  04 February 2010

Peter Hill
Get access Rights & Permissions [Opens in a new window]

Extract

It used to be said that we study history for the lessons we can learn for the present: ‘plus ça change, plus c'est la même chose’. But now that the music of the past occupies the centre-stage—with contemporary work getting the walk-on parts—perhaps we should reverse this, and ask how far the past can be illuminated by what happens today.

Type
Research Article
Information
Tempo , Issue 159 , December 1986 , pp. 2 - 8
Copyright
Copyright © Cambridge University Press 1986

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Cf. Perrin, Maurice, ‘Stravinsky in a composition class’. The Score No. 20 (06 1957), pp. 44–46Google Scholar.

2 Boulez, Pierre, ‘Sonate, que me veux-tu?’ in Perspectives of New Music Vol. 1 No. 2 (Spring 1963), p. 44CrossRefGoogle Scholar.

3 Living in Vogue, p. 146.

4 Keller, Hans, ‘Whose Authenticity?’, Early Music Vol. 12 No. 4 (11 1984), pp. 517–519CrossRefGoogle Scholar.

5 ‘X-enakis and the Performer’, TEMPO 112 (03 1975), pp. 17–22Google Scholar.

6 TEMPO 115, p. 54. Italics mine.