The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music

What is involved in the composition, performance, and reception of classical music? What are we doing when we listen to this music seriously? Why when playing a Beethoven sonata do performers begin with the first note indicated in the score; why don't they feel free to improvise around the sonata's central theme? Why, finally, does it go against tradition for an audience at a concert of classical music to tap its feet? Bound up in these questions is the overriding question of what it means philosophically, musically and historically for musicians to speak about music in terms of 'works'. Lydia Goehr describes how the concept of a musical work emerged, as late as 1800, and subsequently defined the norms, expectations, and behavioural patterns that have come to characterize classical musical practice. The description is set in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions; at the same time, current debates amongst conductors, early-music performers, and avant-guardists are addressed. '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. The book is eminently readable and at the same time exhilarating for the way in which it stimulates the mind...This book cannot fail to be essential reading for a long time to come...with this volume we have a feast par excellence!' - Rosamund McGuinness, Times Higher Educational Supplement. 'Goehr's position and discussion are sober, carefully reasoned, clearly set out, and remarkably persuasive.' - Choice. 'Proceeds with exemplary clarity' - Ruth Solie, Notes.