Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which are now classics in the field.
Taking a wide-ranging cultural view of the early music phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He goes on to contend that the movement is therefore far more valuable - and even authentic - than simple historical verisimilitude could ever be.
These essays cast fresh light on many aspects of contemporary music-making and music-thinking, mixing lighthearted debunking with impassioned argumentation. Taruskin moves fluently from theoretical speculation to practical criticism, and covers a repertory ranging from Josquin des Prez to Stravinsky.
"Sinopsis" puede pertenecer a otra edición de este libro.
Music lovers who have watched the "authenticity" (period instrument) wars of the 1980s and 1990s could be excused for forgetting that Richard Taruskin is a musicologist and professor by trade, not a professional critic. For it is as an essayist and critic (if not a professional gadfly) that he has made a real impact on American musical culture. Indeed, in early-music circles, and even in the marketing of period-instrument performances by record labels, the word authentic has been abandoned almost entirely--and this is due largely to Taruskin's impassioned arguments (and his ability to get them published in places like The New York Times).
Text & Act is a collection of Taruskin's most important (or, at least, most inflammatory) essays and articles on the subject of authenticity in the performance of 18th- and 19th-century music. These are the pieces that got Taruskin a reputation for being a flame-thrower; many fans of what is now called HIP (historically informed performance) have gotten the idea that Taruskin is the enemy of everything HIP stands for. They should have a look at this book: they'll see that he actually applauds many of the HIP movement's achievements. (In fact, Taruskin was himself a Baroque cellist and a founding member of the New York period-instrument orchestra Concert Royal.) What he skewers mercilessly are the pretensions and a few of the assumptions on which HIP was originally based and that it used to market itself.
Readers will also see why Taruskin has deeply infuriated so many people. He regularly makes inflammatory (if not downright insulting) statements at the outset of an essay and then backpedals in the middle. He quotes a statement by another writer or musician, draws implications from that statement that are far more extensive than the speaker apparently intended, and then demolishes those implications and often mocks the unwitting speaker. Especially in his introduction (which I recommend you skip until you've read the rest of the book), he continues to fight battles that he has already won, even as he seems to brag of his triumphs.
Nevertheless, Taruskin's main points are persuasive. They may even seem obvious, but all too many musicians seem to have forgotten them. "Authenticity" in the sense of a faithful re-creation of the composer's intentions and preferred conditions of performance is simply not an achievable goal. We can't know the composer's real intentions (he or she is almost certainly dead), and re-creating original performance conditions is unfeasible (we can't spend the equivalent of the unlimited budget Louis XIV had for his operas, and there are no more French nobles trained in Baroque dance to do the ballets), if not impossible (there are no more 14-year-old boy sopranos to sing Taverner's masses or Bach's soprano solos). There's no point in having as a goal a performance that would please the composer--again, the composer is (as a rule) dead. What's important is a performance that pleases us, the people performing and listening to the music now. So for anyone who wants to understand the early-music revival of the late 20th century and the debates surrounding it, this book is indispensable. Just don't be surprised if you want to smack the author every so often. --Matthew WestphalAbout the Author:
Richard Taruskin is Professor of Music at the University of California, Berkeley.
"Sobre este título" puede pertenecer a otra edición de este libro.
Descripción U.S.A.: Oxford University Press, 1995. Hardcover. Estado de conservación: Very Good. Hardback- Ex library book in acetate cover-with usual library markings. Nº de ref. de la librería ABE-16696606176
Descripción Oxford University Press. Estado de conservación: Good. Sticker on cover. Ex-library, so some stamps and wear, but in good overall condition. May contain underlining and/or highlighting. Nº de ref. de la librería Z1-L-036-00723
Descripción Oxford University Press, 1995. Cloth. Estado de conservación: Very Good. Estado de la sobrecubierta: Very Good. Text is bright and clean; binding is tight and square. Dust jacket is ever so slightly edge worn. 382p. Nº de ref. de la librería 049252
Descripción Oxford University Press, 1995. Hardcover. Estado de conservación: Good. Item may show signs of shelf wear. Pages may include limited notes and highlighting. Includes supplemental or companion materials if applicable. Access codes may or may not work. Connecting readers since 1972. Customer service is our top priority. Nº de ref. de la librería mon0001055540
Descripción . Hardcover. Estado de conservación: Like New. Very light use, FINE or better, very minor shelf wear. For non-UK markets items of 1.5 kg or more may require an additional shipping charge. Nº de ref. de la librería HBS-00256423-B
Descripción Oxford University Press, 1995. Hardcover. Estado de conservación: Good. First Edition (US) First Printing. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. Buy with confidence, excellent customer service!. Nº de ref. de la librería 0195094379