Received: by alpheratz.cpm.aca.mmu.ac.uk id NAA20444 (8.6.9/5.3[ref pg@gmsl.co.uk] for cpm.aca.mmu.ac.uk from fmb-majordomo@mmu.ac.uk); Wed, 31 Jan 2001 13:43:23 GMT Subject: Re: Labels for memes Date: Wed, 31 Jan 2001 08:40:01 -0500 x-sender: wsmith1@camail2.harvard.edu x-mailer: Claris Emailer 2.0v3, Claritas Est Veritas From: "Wade T.Smith" <wade_smith@harvard.edu> To: "memetics list" <memetics@mmu.ac.uk> Content-Type: text/plain; charset="US-ASCII" Message-ID: <20010131133849.AAA29871@camailp.harvard.edu@[128.103.125.215]> Sender: fmb-majordomo@mmu.ac.uk Precedence: bulk Reply-To: memetics@mmu.ac.uk
On 01/31/01 04:53, Robin Faichney said this-
>But Mozart wrote {\em an\/} opera called The Marriage of Figaro, no matter
>how many productions of it have subsequently taken place. Though every
>production is probably slightly different, these are considered versions
>of the same opera, rather than different operas, due to what they have
>in common: the information they share. A particular performance of it
>remains just that---a particular performance---even if it was recorded,
>and thousands of CD's made.
(What is {\em an\/}...?)
There are schools of philosophy and aesthetics that quite bluntly and
explainedly deny that a work, like Mozart's Figaro, has an original and
separate entity from its performance.
I just saw the Boston Premiere of a Rodrigo piece for guitar and flute.
It was not described as the premiere of the performance, but the premiere
of the work. There is an identity to a piece of music that remains
uncomplete until it is performed. What does a score and its performance
have in common...?
- Wade
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