Klarinet Archive - Posting 000612.txt from 2003/10

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Who speaks?
Date: Thu, 23 Oct 2003 13:11:29 -0400

On Thu, 23 Oct 2003 10:13:54 -0400, DLeigh@-----.org said:

> I've been reading this discussion with interest and I've been
> wondering: how does this apply to music that wasn't traditionally
> written down, and may not even have a single, known composer? Is the
> solution to copy earlier, purer performances or ways of playing, or to
> study the tradition and then bring all of one's influences to bear on
> it? Or, perhaps it's not possible to set aside other influences even
> if that's the intent?

This is a very deep question. It has been argued -- for example, in
Lydia Goehr's book, 'The Imaginary Museum of Musical Works', OUP 1992 --
that the very notion of "a musical work" is of fairly recent origin, say
'around' 1800. Most of what I have been talking about is intended to
apply to classical music, which falls into the category in which "a
musical work" is meaningful.

Other music, particularly that communicated by oral tradition, may be
untouched by such considerations.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
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... It's not easy being green...

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