MUSIC AND MORALITY: The resurrection of the composer
– musical authenticity bound with interpretative contract

Karolina Kolinek-Siechowicz 1
1 - Absolwentka muzykologii i filozofii w ramach Kolegium MISH UW, doktorantka Wydziału „Artes Liberales” UW oraz Akademii Artes Liberales
MAeS
2015; 16 (3):
ICID: 1186504
Article type: Original article
IC™ Value: 3.00
Abstract provided by Publisher
 
The main thesis of the article is the problem of moral implications of the “authenticity”
category. The author – in a form of moral tale – hyperbolically describes the fact that
idea of fulfilling the intention of the composer as the necessary condition of authentic
performance became a source of constraint of performers’ self-creation and expression.
The discussion about authenticity, prevailing in the eighties and nineties, as well as contemporary
statements of musicians representing historically informed practice movement
bring our attention to the transformation of authenticity concept from strict realisation
of (imagined) composer’s intention to more flexible (and modern) interpretation creating
an identity of the musician. Finally comes the thesis about incompatibility of moral and
aesthetic judgement – the author finds the second one more appropriate to evaluate musical
performances (also performances of early music).
DOI: 10.5604/20842937.1186504
  FULL TEXT STATS


Related articles in IndexCopernicus™
     philosophy of music [0 related records]
     historically informed performance [0 related records]
     authenticity [0 related records]
     early music [0 related records]
     morality of music [0 related records]