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In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical-as opposed to a dramatic-necessity for opera during this period and that Mozart's I…
In this text on the aesthetics of music, the author presents an argument not for authenticity but for the authenticities of performance, including authenticities of intention, sound, practice and the authenticity of personal interpretation in performance.
