"In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion."--Susan McClary, Professor of Musicology, University of California -- Los Angeles "This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it."--Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing Brahms Reviews of the First Edition "A novel and definitive study of a concept of major importance in both the history of music and the philosophy of music."--Journal of Aesthetics and Art Criticism" "This is a brilliant and fascinating book...a book to be read by anyone interested in music and concerned for the health of our culture."--Music and Letters "One of the most exciting books on music to appear for a long timeexceptional, clearly the product of a fresh, imaginative, lucid mind...this book cannot fail to be essential reading for a long time to come...with this volume we have a feast par excellence.!"--Times Higher Educational Supplement "In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion."--Susan McClary, Professor of Musicology, University of California -- Los Angeles "This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it."--Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing Brahms

Lydia Goehr is Professor of Philosophy and Aesthetic Theory at Columbia University. She is also author The Quest for Voice: Music, Politics, and the Limits of Philosophy, the forthcoming Elective Affinities: Musical Essays of the History of Aesthetic Theory, and co-editor of The Don Giovanni Moment: Essays on the Legacy of an Opera.