Levinson's Musical Works
Levinson defines a musical work as a dual structure, sound and means of performance (S/PM), as "indicated" by a person at some time. An "indicating" takes the form of the creation of a score by a composer. He writes that certain attributes of musical works are dependent on more than the sound structure they contain, this is what makes musical works different from each other. Musical works are not only sound structures but rather they are an integration of sound structures and performance. Levinson also states that musical works are sound and means of performance structure and include the musico-historical context in which the piece is written. Musical works must be such that composers composing in different music-historical contexts who determine
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Composers are not original because they are able to create musical works rather a composer is original because his work is original. A performance of a musical work of art is a single aspect of the whole that creates a musical work. Performances are attempts to exemplify works of S/PM. Performances may be more or less successful. Performances also do not always fully instantiate. Musical works must be such that specific means of performance or sound production are integral to them. Although understanding the time when a musical work was created the music-historical context is as important because the musical work can be recognized without knowing the time.
It would be recognized that the pure sound structure of a musical work does not drain the work structurally, therefor the underlying principle of performance must be taken into account as well if the work is to be correctly assessed. I agree with Levinson that a sound structures and performance are two aspects that make a musical work. Two composers using the same sound structure can make two different musical works based on their performance. One composer could perform a musical work in a slow and mournful way while another composer could perform the same work in a fast and joyful
Composers are not original because they are able to create musical works rather a composer is original because his work is original. A performance of a musical work of art is a single aspect of the whole that creates a musical work. Performances are attempts to exemplify works of S/PM. Performances may be more or less successful. Performances also do not always fully instantiate. Musical works must be such that specific means of performance or sound production are integral to them. Although understanding the time when a musical work was created the music-historical context is as important because the musical work can be recognized without knowing the time.
It would be recognized that the pure sound structure of a musical work does not drain the work structurally, therefor the underlying principle of performance must be taken into account as well if the work is to be correctly assessed. I agree with Levinson that a sound structures and performance are two aspects that make a musical work. Two composers using the same sound structure can make two different musical works based on their performance. One composer could perform a musical work in a slow and mournful way while another composer could perform the same work in a fast and joyful