Principles of Music Critique

Guerino Mazzola ()
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Guerino Mazzola: University of Zurich, Department of Information Technology MultiMedia Laboratory

Chapter Chapter 45 in The Topos of Music, 2002, pp 905-910 from Springer

Abstract: Summary Inverse performance theory deals with the critic’s problem of how to extract in his critique what is hidden behind a performance output. To initiate this theory, we therefore should question the perspectives which a critic has to envisage. To begin with, we inquire the intriguing task of feuilletonistic critique: why is it a never ending story? Is it substantially necessary—beyond music business? We then position the critic within the sociological context: How do norms intervene in critique? This is exemplified by Glenn Gould’s performative redefinition of classics. The chapter terminates with an ethnomusicological view on historicistic performance as it is typically undertaken by Nicolas Harnoncourt.

Keywords: Political Correctness; Musical Drama; Expressive Performance; Analytical Interpretation; Dramatic Performance (search for similar items in EconPapers)
Date: 2002
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Persistent link: https://EconPapers.repec.org/RePEc:spr:sprchp:978-3-0348-8141-8_45

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DOI: 10.1007/978-3-0348-8141-8_45

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