THE COMING OF MUSEUM CULTURE

Chapter:

CHAPTER 11 The Composer’s Voice

Source:

MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES

Author(s):

Richard Taruskin

And that is because Mozart and Haydn’s progeny, far more than any previous generation of musicians, thought of themselves as just that—progeny. A sense of heirship, of tradition, of obligation to illustrious forebears and their great works becomes in the nineteenth century a stronger force in the history of musical composition than ever before. The reasons, as always, are many, but one of the most important is the growing sense of canon, of an accumulating body of permanent masterworks that never go out of style but form the bedrock of an everlasting and immutable repertory that alone can validate contemporary composers with its authority.

Citation (MLA):

Richard Taruskin. "Chapter 11 The Composer’s Voice." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 19 Jan. 2020. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11009.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 11 The Composer’s Voice. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 19 Jan. 2020, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11009.xml

Citation (Chicago):

Richard Taruskin. "Chapter 11 The Composer’s Voice." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 19 Jan. 2020, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11009.xml