The Musical Work

BookThe Musical Work

The Musical Work

Reality or Invention?

Liverpool Music Symposium, 1

2000

May 1st, 2000

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Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in these essays, which examine a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.

Table of Contents

Table of Contents
Section TitlePagePrice
Title Page3
Contents5
Notes on Contributors7
Introduction9
1: Some Thoughts on the Work in Popular Music22
2: Intertextuality and Hypertextuality in Recorded Popular Music43
3: Work-in(g)-Practice: Configurations of the Popular Music Intertext67
4: Work and Recordings:The Impact of Commercialisation and Digitalisation96
5: The Practice of Early-Nineteenth-Century Pianism118
6: Looking Back at Ourselves: The Problem with the Musical Work-Concept136
7: ‘The Work’:An Evaluative Charge161
8: The Work-Concept and Composer-Centredness176
9: The Musical Artwork and its Materials in the Music and Aesthetics of Busoni195
10: Re-composing Schubert213
11: ‘On the Problems of Dating’ or ‘Looking Backward and Forward with Strohm’239
Index of Musical Compositions and Collections255
Index of Personal Names261