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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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Original Ears

Original Ears

Chapter:
(p.119) 7 Original Ears
Source:
The End of Early Music
Author(s):

Bruce Haynes

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195189872.003.07

Some people like copies of paintings or musical instruments to have the “look of age,” a vintage value. They would prefer, for example, a new “Baroque” violin with an artificial patina of age over its varnish. Given a choice, in other words, they prefer to see “old” things look like they look now (that is, old) rather than how they looked then (which would have been new). The appearance of age is not what makes an instrument, a performance, or a score authentic, but rather the style. This chapter discusses the vintage nature of music compared with style, modern music called Seconda Pratica, past examples of authenticity movements, difference between an art fake and a Period concert, how historical musicology differs from Historically Inspired Performance (HIP) movement, Romantic audience compared with Baroque audience, and Period musicians in Victorian outfits.

Keywords:   vintage nature, style, modern music, Seconda Pratica, historical musicology, Period musicians, Historically Inspired Performance movement

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