Jump to ContentJump to Main Navigation
The Art of Re-enchantmentMaking Early Music in the Modern Age$
Users without a subscription are not able to see the full content.

Nick Wilson

Print publication date: 2013

Print ISBN-13: 9780199939930

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199939930.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy).date: 22 July 2018

A Tale of Two Authenticities

A Tale of Two Authenticities

Chapter:
(p.57) 4 A Tale of Two Authenticities
Source:
The Art of Re-enchantment
Author(s):

Nick Wilson

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199939930.003.0004

Chapter 4 is the first of three chapters (comprising Part II) to focus on making Early Music work. Here the analysis shifts to consider the professionalization of early music performance, such that many of those involved were now frequently doing it as a rewarding and full-time job. The chapter introduces an important distinction to be made between two distinctive trajectories of early music work-authenticity1with its particular focus on Medieval, Renaissance and early Baroque repertoire (i.e. making the ‘unfamiliar familiar’), and then authenticity2, where the ‘familiar’ (i.e. Baroque, Classical and later repertoire) was now being made ‘unfamiliar’, through being performed on period instruments and in a HIP style. In order to explain this process of professionalization, the chapter introduces 7 vantage points (Musical establishment; Amateur music-making; Instrument-making; Contemporary; Continental Europe and USA; Folk; and University), which collectively represent the distinctive conditions under which Early Music was to emerge.

Keywords:   medieval music, renaissance music, baroque music, classical music, contemporary music, folk music, university music, musical establishment, amateur music, instrument-making

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .