2015/07/05 by John Milsom · 1 citation
Arts and Humanities · #Renaissance Literature and Culture #Medieval Literature and History #Musicology and Musical Analysis #Musical #Realm #Active listening #The arts #Presentation (obstetrics) #Context (archaeology) #Art #Reading (process) #Popular music #Visual arts #Literature #Humanities #Linguistics #Sociology #History #Philosophy #Communication
paper · doi:10.1017/cho9781139057813.017
openalex publication_date 2015/07/05 · openalex created_date 2025/10/10 · openalex updated_date 2026/06/11
The concept of the musical work is based on the assumption that a composed piece of music is a work of art. From a historical perspective, authorship stands as a comparatively recent determinant of the work concept. Imposing the concept of the work of art on music required the translation of the ars musicae from the context of the artes liberales into a more modern system of the arts. Around 1400 a new musical realm of experience emerged, and with it the idea that composed music was first and foremost a presentation of text to listeners, a concept introduced emphatically by Ciconia. A prerequisite for aesthetic discourse is the regular availability of music - or put differently, the reproducibility of a notated text and its sound; and it was written traditions that enabled composers to refer to each other and compare works through both reading and listening.