The End of Early Music : A Period Performer's History of Music for the Twenty-first Century

List of Recorded Excerpts xv Introduction 3(16) Literacy The Romantic Revolution Canonism and Classicism Progress or Adaptation Serendipity Musical Rhetoric Authenticity as a Statement of Intent ``Scare-Quotes'' for Authenticity The End of Early Music Musicking Terminology and Concepts PART I Performing Styles When You Say Something Differently, You Say Something Different 19(13) ``Style Is That Which Becomes Unstylish'' Innovation Eating the Cookbook Chronocentrism: ``Music as Tradition'' The Rise of Pluralism: Matching Style to Period Mind the Gap Current Styles 32(16) Three Abstractions: Romantic, Modern, and Period Styles Romantic Style: An Absolute Recordings That Document the Heart of Romantic Practice Prophets of the Revolution: Dolmetsch and Landowska The Authenticity Revolution of the 1960s The Advent of Period Instruments and ``Low Pitch'': ``Strange and Irregular Colors'' Chain Reaction Guru Style: Rhetoric without the Name Mainstream Style ``Chops, but No Soul'' 48(19) Modernism and Modern Style The Performance Practices of Romantic Style and Modern Style Compared Vibrato, the MSG of Music Children of Modernism Period Style Compared to Modern Style Click-Track Baroque Strait Style and Modernism Strike Up the Bland: Strait Style Described PART II How Romantic Are We? Classical Music's Coarse Caress 67(19) The Musical Canon Charles Burney and the Beginnings of Musical History Why Did the Romantics Call Music ``Classical''? What Conservatories Conserve Absolute Music (the Autonomy Principle) Pachelbel's Canon Becomes Canon Originality and the Cult of Genius Attribution and Designer Labels Repeatability and Ritualized Performance The Transparent Performer 86(16) Composer-Intention (``Fidelity to the Composer'') What Is a Piece of Music? Werktreue (Work-Fidelity): The Musical Analogue of Religious Fundamentalism The Urtext Imperative and Text Fetishism Untouchability The ``Transparent'' Performer and ``Perfect Compliance'' The Romantic Invention of the Interpretive Conductor The Maestro-Rehearsal Changing Meanings, Permanent Symbols 102(17) Changing Meanings, Permanent Symbols Descriptive and Prescriptive Notation The Incomplete Musical Score Written Music's Oral Element Writing Only the Essential in Rhetorical Music Implicit Notation Strait Style and the Neutral ``Run-Through'' Style versus Interpretation ``Saying Bach, Meaning Telemann'': Composer-Intention before the Romantic Period PART III Anachronism and Authenticity Original Ears 119(19) Vintage Compared with Style Seconda Pratica Past Examples of Authenticity Movements The Difference between an Art Fake and a Period Concert How Historical Musicology and HIP Differ Romantic and Baroque Audiences Compared Period Musicians in Victorian Outfits Ways of Copying the Past 138(13) Emulation and Replication: Two Renaissance Approaches to Imitation The Emulation Principle The Replication Principle Imitation in the Canonic System Style-Copying and Work-Copying ``Talking to Ghosts'' and Work-Copying The Kon-Tiki Observation ``What Really Happened'' in History Beyond History: The Shelf Life of Historical Evidence What's Wrong with Anachronisms The Medium Is the Message Period Instruments 151(14) The Instrument Trade-off The Influence of Instruments on Performing Style The Violins of Autumn Period Instruments: Hardware and Software Measuring the Makers ``Faults'' in an Original The Lefebure: More Than a Style-Copy A Plea for More ``Correctly Attributed Fakes'' ``Don't Fix It if It Ain't Broke'' PART IV What Makes Baroque Music ``Baroque''? Baroque Expression and Romantic Expression Compared 165(19) Rhetoric: Beyond Communication Once More, with Feeling: The Affections Persuasion: Winning Over the Listeners Declamation / Expression / Vortrag Commitment: The Baroque Performer ``Himself in Flames'' Romantic Expression: The ``Autobiography in Notes'' Rhetoric Abandoned by the Romantics: An Art ``Broken to Service'' Rhetoric Overwhelmed by Beauty (= Æsthetics) The Rainbow and the Kaleidoscope Romantic Phrasing Compared with Baroque 184(19) Figures and Gestures Examples of Melodic Figures Gestures as the Antiphrase Orders or Levels of Meaning: Gesture and Phrase Infection (Individual Note-Shaping) PART V The End of ``Early'' Music Passive and Active Musicking Stop Staring and Grow Your Own 203(12) The Cover Band Mentality Playing in the Wind Gracing: The Border between Composing and Performing Improvisation: The Domain of the Performer Style-Copying in Composing Roll over Beethoven Thoughts on the Genius Barrier Two Examples of Present-Day Period Composing Designer Labels Our Own Music Perpetual Revolution 215(14) ``The Musick of Fools and Madd Men'': Limits to What Taste Will Accept The Illusion of an Unbroken Performing Style from Mozart's Time to Ours Beethoven Lite and Manifest Destiny ``Perpetual Revolution'' and Changing Taste HIP Is Anti-Classical Default Style Historians of Necessity Trying to See over the Horizon of Time The Pursuit of Authenticity Notes 229(20) Bibliographic Abbreviations 249(2) Bibliography 251(16) Index 267