The Eighteenth-Century Origins of the Musical Canon

Datos Bibliográficos

ID4408570
AutoresWilliam Weber (0000-0003-2674-6815, California State University, Long Beach, autor de correspondencia)
Año1989
Volumen114
Número1
Páginas6-17
Fecha de publicación1989-01-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaJournal of the Royal Musical Association (JOURNAL)
Identificadores de la revistaISSN: 0269-0403 • E-ISSN: 1471-6933
EditorialCambridge University Press (PUBLISHER • US)
DOI10.1093/jrma/114.1.6
OpenAlexW2074091581
IdiomaEN
Citas recibidas5
Referencias citadas5

Joseph Kerman has suggested a distinction crucial in defining the meaning of 'canon' in musical culture: repertory, he argues, was simply the performance of old works; canon, by contrast, is their reverence on a critical plane and in a literary context. The distinction is a fertile one, for it challenges us to define when works were not just offered by convention, but when they functioned as models for musical taste critically and aesthetically. The distinction can be extremely fruitful in tracing the early history of the canon - its origins in repertory and gradual evolution into its modern form. What I would like to show here is how repertories grew up originally without true status as canon; before canon there was repertory, and that is where the whole tradition began. In inquiring just where the modern practice of performing old music regularly came about we can look into some of the most fundamental social and intellectual bases upon which the tradition was established

Aesthetics · Archaeology · Art · Canon · Context (archaeology) · Convention · Epistemology · Literature · Meaning (existential) · Musical · Reverence · Social science · Sociology · History · Media, Gender, and Advertising · Music History and Culture · Philosophy · Theater, Performance, and Music History