Abstract
This chapter examines the existence of a watershed in Western art music located in the decades around 1800. In parallel with the emergence of a modern work-concept, the general public accepted, for the first time, a composer-centred (rather than genre-centred or performer-centred) view of music — a perspective previously associated with practitioners, patrons and connoisseurs. The chapter considers the relevance of composer-centredness to the work-concept and analyses Lydia Goehr's views on the work-concept as detailed in her book The Imaginary Museum of Musical Works. According to Goehr, musical work enters its imaginary museum only because composers have already entered their imaginary Pantheon.
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