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The End of Early MusicA Period Performer's History of Music for the Twenty-First Century$
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Bruce Haynes

Print publication date: 2007

Print ISBN-13: 9780195189872

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195189872.001.0001

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Classical Music’s Coarse Caress

Classical Music’s Coarse Caress

Chapter:
(p.67) 4 Classical Music’s Coarse Caress
Source:
The End of Early Music
Author(s):

Bruce Haynes

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195189872.003.04

Romanticism arose along with other values that are the foundations of modern life, like human rights, democracy, the decimal system, the universal use of family names, marriage based on love, and street addresses. No wonder it is so pervasive. Musicians find themselves looking at rhetorical repertoire through a series of veils, consisting of axioms and dogmas, usually unspoken, that are so strong in their culture that they tend to distort and obscure everything that pre- Romantic people thought music was meant to do, or how they went about playing it: not just how to play a trill, but something as basic as how to read the page. This chapter discusses classical music and why the Romantics called music “classical”, canonism in music, Charles Burney's documentation of the beginnings of music history, what conservatories conserve absolute music (the autonomy principle), originality in music and music genius, attribution and designer labels, and repeatability and ritualized performance.

Keywords:   classical music, Romanticism, canonism, music history, Charles Burney, absolute music, originality, genius, repeatability

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