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‘Authenticity’ in Contemporary Music

Published online by Cambridge University Press:  04 February 2010

Peter Hill
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Extract

It used to be said that we study history for the lessons we can learn for the present: ‘plus ça change, plus c'est la même chose’. But now that the music of the past occupies the centre-stage—with contemporary work getting the walk-on parts—perhaps we should reverse this, and ask how far the past can be illuminated by what happens today.

Type
Research Article
Information
Tempo , Issue 159 , December 1986 , pp. 2 - 8
Copyright
Copyright © Cambridge University Press 1986

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References

1 Cf. Perrin, Maurice, ‘Stravinsky in a composition class’. The Score No. 20 (06 1957), pp. 44–46Google Scholar.

2 Boulez, Pierre, ‘Sonate, que me veux-tu?’ in Perspectives of New Music Vol. 1 No. 2 (Spring 1963), p. 44CrossRefGoogle Scholar.

3 Living in Vogue, p. 146.

4 Keller, Hans, ‘Whose Authenticity?’, Early Music Vol. 12 No. 4 (11 1984), pp. 517–519CrossRefGoogle Scholar.

5 ‘X-enakis and the Performer’, TEMPO 112 (03 1975), pp. 17–22Google Scholar.

6 TEMPO 115, p. 54. Italics mine.