Authorship and workhood: intellectual framework
Transition This chapter opens with an exploration of the key developments in authorship theories in the literary fi eld during the second half of the twentieth century, an exploration that grounds the intellectual framework developed in Chapter 3 . I move on to examine Lydia Goehr’s critical analysis of the historical emergence of the work-and author-concepts, regulative concepts that, I argue, still permeate contemporary musicology. I proceed to summarize recent questionings of those Romantic notions that, while partially paralleling the example provided by literary criticism, have been predominantly undertaken from ontological perspectives. These analyses point towards potential loci of intellectual confl uence and lead to a fi nal consideration of the analytical perspectives introduced in the following chapters, a consideration that enables me to raise preliminary answers to the key question(s) posited by this text: how can the . . . Bach . . . project be used to reassess the notions of musical work and musical authorship?