Opus, piece, genre, model
Identity Changes of the Musical Work, and the Death of the Classical Paradigm
Abstract
The concept of the musical artwork was born due to a classification process within memory- based culture. Originally, the musical opus was a collection made by the composer from works which he separated from the circumstances of their
conception and primary use, and which he considered as timeless, independent works of art, worthy of the judgement of the future. The skill of composition remained a craft (ars) for as long as composition persisted as a realisation of its
model (genre). During the 19th century, however, the genre as a concept became uncertain and old- fashioned, as verified by several works of Berlioz and Liszt. The hierarchy between the collected works and the rest was destroyed: the composer
had to work for the market and sell each of his compositions.
References
Banchieri, Adriano: Cartella musicale. Venezia: Vincenti, 16143, 231.
Blum, Stephen: „Recognizing Improvisation”. Susan Hallum–Ian Cross–Michael Thaut (eds.): The Oxford Handbook of Music Psychology. Oxford [etc.]: Oxford University Press, 2009, 27–45.
Butt, John: „The Seventeenth- century Musical ’Work’”. In: Tim Carter–John Butt (eds.): The Cambridge History of Seventeenth Century Music. Cambridge: Cambridge University Press, 2005, 27–54. https://doi.org/10.1017/CHOL9780521792738.003
Chédeville, Nicolas: Il pastor fido. Zugeschrieben / attributed to Antonio Vivaldi. Hrsg /ed. Federico Maria Sardelli. Kassel [etc.]: Bärenreiter, 2005.
Dahlhaus, Carl: „Was ist eine musikalische Gattung?”. In: uő: Gesammelte Schriften, 1.: Allgemeine Theorie der Musik, I. Laaber: Laaber-Verlag, 2000, 349–358.
Dahlhaus, Carl: „Gesamtkunstwerk und Wagner-Ausgabe”. In: uő: Gesammelte Schriften, 7: 19. Jahrhundert IV: Richard Wagner – Texte zum Musiktheater. Hrsg. Hermann Danuser. Laaber Verlag, 2004, 405–412.
Dolinszky Miklós: Jelképtől jelig. A kreativitás elveszítése a modern Nyugat zenei gyakorlatában. Budapest: Typotex, 2019.
Erauw, Willem: „Canon Formation. Some More Reflections on Lydia Goehr’s The Imaginary Museum of Musical Works”. Acta Musicologica 70/2. (July–December 1998), 109–115. https://doi.org/10.2307/932705
Fazekas Gergely: J. S. Bach és a zenei forma két kultúrája. Budapest: Rózsavölgyi és Társa, 2018.
Goehr, Lydia: The Imaginary Museum of Musical Works. An Essay in the Philosophy of Music. Oxford:Clarendon Press, 1992. Bővített kiadás: Oxford: Clarendon Press, 2007. https://doi.org/10.1093/oso/9780195324785.001.0001
Hunter, David: „Lydia Goehr: The Imaginary Museum of Musical Works”. Fontes Artes Musicae 41/1. (January–March 1994), 136–138.
Ingarden, Roman: Das Musikwerk in Untersuchungen zur Ontologie der Kunst. Tübingen: De Gruyter, 1962. Angol kiadása: The Work of Music and the Problem of its Identity. London: Palgrave Macmillan, 1986.
Landon, H. C. Robbins: Haydn. Chronicle and Works, III.: Haydn in England 1791–1795. Bloomington: Indiana University Press, 1976.
Lescat, Philippe: „Il Pastor Fido, une oeuvre de Nicolas Chédeville”, Informazioni e studi vivaldiani 11. (1990), 5–10.; továbbá in: Vivaldi. Vero e falso. Antonio Fanna–Michael Talbot (eds). Florence: Olsch, 1992 (Quaderni vivaldiani, 7.), 109–125.
Mann, Thomas: Richard Wagner szenvedése és nagysága. Ford. Szőllősy Klára. Budapest: Európa, 1983.
Steingo, Gavin: „The Musical Work Reconsidered, in Hindsight”, Current Musicology 97. (Spring 2014), 81–112.
Talbot, Michael (ed.): The Musical Work. Reality or Invention? Liverpool: Liverpool University Press, 2000. DOI: 10.5949/UPO9781846313615
Todorov, Tzvetan: Les genres du discours. Paris: Seuil, 1978.
Vicentino, Nicola: L’antica musica ridotta alla moderna prattica. Vol. IV, Cap. 23. Roma: Barre, 1555.
White, Harry: „’If it’s Baroque, Don’t Fix it’. Reflexions on Lydia Goehr’s ’Work- Concept’ and the Historical Integrity of Musical Composition”, Acta Musicologica 69/1. (January–June 1997), 94–104. https://doi.org/10.2307/932803
