ABSTRACT
Chapter 2 considers the development of authorship theories in the field of literary criticism during the second half of the twentieth century. These are used as an intellectual background to explore, from a historicist perspective, the emergence of the modern musical work- and author-concepts and their contemporary revisions. Have these new readings met the intellectual challenges introduced by the advancement of authorship theories in the literary field? Would such a parallelism be necessary or constructive? And, if that is the case, what remains to be done?
