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Principles of Music Critique

In: The Topos of Music

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  • Guerino Mazzola

    (University of Zurich, Department of Information Technology MultiMedia Laboratory)

Abstract

Summary Inverse performance theory deals with the critic’s problem of how to extract in his critique what is hidden behind a performance output. To initiate this theory, we therefore should question the perspectives which a critic has to envisage. To begin with, we inquire the intriguing task of feuilletonistic critique: why is it a never ending story? Is it substantially necessary—beyond music business? We then position the critic within the sociological context: How do norms intervene in critique? This is exemplified by Glenn Gould’s performative redefinition of classics. The chapter terminates with an ethnomusicological view on historicistic performance as it is typically undertaken by Nicolas Harnoncourt.

Suggested Citation

  • Guerino Mazzola, 2002. "Principles of Music Critique," Springer Books, in: The Topos of Music, chapter 0, pages 905-910, Springer.
    • Handle: RePEc:spr:sprchp:978-3-0348-8141-8_45
    DOI: 10.1007/978-3-0348-8141-8_45
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