Abstract
This book contains the proceedings of a symposium, held at the University of Liverpool's Institute of Popular Music on September 21, 1998 to address musical work. It offers eleven different perspectives on what it means to be (or not to be) a work. It considers the term ‘work’ and its use in the discourse around popular music, intertextuality and hypertextuality in recorded popular music within the framework of a set of concepts originally formulated by the literary critic Gérard Genette, the role of practice in driving popular music culture, and the recording industry's general tendency to continue to manipulate sounds after the initial performance is over. The book also looks at the pre-recital pianism in the early nineteenth century, as represented by such figures as Frédéric Chopin and Franz Liszt, as well as musical works and their arrangements in relation to Ferruccio Busoni and Franz Schubert. Finally, it considers the impact of commercialism and digitalisation on musical works and recordings.
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