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'Playing with History carries with it the strength of a seminal work.' 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.’ The Strad
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Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 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.
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'Playing with History carries with it the strength of a seminal work.' 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.’ The Strad
Product 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 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.
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Inside This Book
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First Sentence
Some of the parameters of the debate over historical performance were set many years before the movement became a truly public phenomenon in the late 1960s. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Some of the parameters of the debate over historical performance were set many years before the movement became a truly public phenomenon in the late 1960s. Read the first page
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Browse Sample PagesConcordance
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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What Do Customers Ultimately Buy After Viewing This Item?
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68% buy the item featured on this page: Playing with History: The Historical Approach to Musical Performance (Musical Performance and Reception) £16.14 |
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12% buy The Historical Performance of Music: An Introduction (Cambridge Handbooks to the Historical Performance of Music)£16.14 |
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11% buy The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music £21.84 |
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10% buy The End of Early Music: A Period Performer's History of Music for the Twenty-First Century£21.84 |
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