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Music philology: an introduction to musical textual criticism, hermeneutics, and editorial technique
Georg Feder
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Frontmatter
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Foreword (page v)
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Translator's Preface and Acknowledgments (page vii)
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I. Presuppositions (page 1)
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A. Music and Language (page 1)
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B. Tradition and Understanding (page 7)
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C. The Work and the Text (page 13)
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II. Definition (page 23)
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A. Narrowest and Broadest Sense of the Term "Musical Philology" (page 23)
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B. Bibliographical, Antiquarian, Philological, and Historical Music Research (page 29)
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III. Foundations (page 33)
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A. Sources (page 33)
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B. Context (page 34)
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C. Competence (page 38)
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IV. Textual Criticism (page 41)
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Digression 1: Reproaches of "Positivism" (page 43)
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A. Source Criticism (page 45)
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B. "Lower" Criticism (page 58)
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C. "Higher" Criticism and History of the Work (page 71)
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V. Hermeneutics (page 85)
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A. Concept and Method (page 85)
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B. Objects of Understanding: Methods of Explanation (page 97)
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C. Addressees of Explanation and Its Forms of Communication (page 125)
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VI. Work Criticism (page 127)
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Digression 4: Musical Aesthetic of the Variant (page 131)
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VII. Editorial Technique (page 137)
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A. Facsimile (page 137)
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B. Diplomatic Edition (page 140)
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C. Edition of the Corrected Text (page 141)
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D. Critical Edition (page 142)
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E. The Historical and Critical Edition (page 149)
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F. The "Scholarly and Practical" Edition (page 152)
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G. "Urtext" Edition (page 154)
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H. The Demand for an Edition Based on the History of Transmission (page 155)
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VIII. Remarks on the History of Textual Criticism in Music (page 159)
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Selected Bibliography (page 163)
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Index of Persons (page 169)
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Index of Topics and Terms (page 178)
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Georg Feder (1927-2006) (page 195)
Citable Link
Published: c2011
Publisher: Pendragon Press
- 9781576471135 (paper)
- 9780945193272 (hardcover)