What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.
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This is a brilliant and fascinating book... a book to be read by anyone interested in music and concerned for the health of our culture. (Gabriel Josipovici, Music and Letters)
one of the most exciting books on music to appear for a long time ... exceptional, clearly the product of a fresh, imaginative, lucid mind...the style is elegant and the argument neatly and persuasively constructed (Times Higher Education Supplement)
Lydia Goehr is Professor of Philosophy and Aesthetic Theory at Columbia University. She is also author The Quest for Voice: Music, Politics, and the Limits of Philosophy, the forthcoming Elective Affinities: Musical Essays of the History of Aesthetic Theory, and co-editor of The Don Giovanni Moment: Essays on the Legacy of an Opera.
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