CiNii Books - Authenticity and early music : a symposium

The notion that music can and should be performed in the manner its composers intended has led to a search for original methods and styles of performance. In recent years the explosion of popular interest in what has been called the "authenticity" movement has led to a sea-change in our listening habits. Performances on period instruments are now supplanting those on modern instruments in some central areas of the classical repertory, and by many this is perceived as a threat. This book attempts to explore the thinking behind the search for so-called authenticity in musical performance and to question some of the received opinions about its worth and purpose. The contributors include critics from both sides of the Atlantic and leading scholars in the field of early music research and performance. This is a topical exploration of views and attitudes to the problems of authenticity in early music which have become current over the last few years and aims to stimulate new thought among both scholars and performers about the future of the historical performance movement. Nicholas Kenyon, music critic and broadcaster is also editor of "Early Music".

Table of Contents

Authenticity and early music - some issues and questions, Nicholas Kenyon
fashion, conviction and performance style in an age of revivals, Will Crutchfield
pedantry or liberation? - a sketch of the Historical Performance Movement, Howard Mayer Brown
tradition, anxiety and the current musical scene, Robert P. Morgan
text, context and the early music editor, Philip Brett
the historian, the performer, and authentic meaning in music, Gary Tomlinson
the pastness of the present and the presence of the past, Richard Taruskin.

Volume: : pbk ISBN 9780198161530

Description

No change has had a more profound influence on the development of music-making over the last two decades than the growth of the historical performance movement. The notion that we can - and indeed should - perform music in the manner its composers intended has led to a search for original methods and styles of performance. At first this was the pursuit of a small coterie, but in recent years the explosion of popular interest in what has been called the 'authenticity' movement has led to a sea-change in our listening habits. Performances on period instruments are now supplanting those on modern instruments in some central areas of the classical repertory, and by many this is perceived as a threat. For the first time, this book explores the thinking behind the search for so-called authenticity in musical performance, and questions some of the received opinions about its worth and purpose. The contributors include critics Nicholas Kenyon of Early Music and Will Crutchfield of the New York Times, alongside Howard Mayer Brown, Philip Brett, Robert P. Morgan, Richard Taruskin, and Gary Tomlinson, all of them experts in their field. The variety of views expressed is sure to provoke wide discussion and to stimulate new thought among both scholars and performers about the future of the historical performance movement.

Table of Contents

Authenticity and early music - some issues and questions, Nicholas Kenyon
fashion, conviction and performance style in an age of revivals, Will Crutchfield
pedantry or liberation? - a sketch of the Historical Performance Movement, Howard Mayer Brown
tradition, anxiety and the current musical scene, Robert P. Morgan
text, context and the early music editor, Philip Brett
the historian, the performer, and authentic meaning in music, Gary Tomlinson
the pastness of the present and the presence of the past, Richard Taruskin.

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Authenticity and early music : a symposium

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