Taking a wide-ranging cultural view of the phenomenon, it shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance on offer today.

M.R. Questioning authenticityWhat Taruskin discovered, as he laid out in 1996 in a mammoth two-volume study, "Stravinsky and the Russian Traditions," was that Stravinsky had systematically lied … Richard Taruskin This collection of essays and reviews offers an evaluation of the early music movement, in an attempt to transform the debate about "early music" and "authenticity". Richard Taruskin’s sweeping collection of essays distills a half century of professional experience, demonstrating an unparalleled insider awareness of relevant debates in all areas of music studies, including historiography and criticism, representation and aesthetics, musical and professional politics, and the sociology of taste.

candidate, Richard Taruskin, was a particularly commendable choice.

Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity."

This event provided a good reason for an interview by correspondence. In the 1980s, while writing for The New York Times, other newspapers and academic journals, he provocatively asserted that contemporary performances of early music were not true examples of “authenticity,” as was commonly claimed, but rather reflections of late 20th century aesthetics. Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." He played the viola da gamba with the Aulos Ensemble from the late 1970s to the late 1980s. Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity". Taruskin is an outspoken critic of the so-called “authentic” performance practice movement that gradually gained momentum starting in the 1960s.

He is not so much a critic of research into how music was performed in earlier times, or necessarily of the practice of using instruments from the time period in which the music was written. Some responded by aiming at an even more chilly perfection, ridding their performances of anything that might suggest a connection with romantic portrayals of the imagined past, popular style, or even human feeling.

Richard Taruskin.

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which are now classics in the field. Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Min-Ad, as a representative of the Israel Musicological Society, congratulates Richard Taruskin—the 2017 Kyoto Prize laureate. Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. 'The authenticity movement can become a positivistic purgatory, literalistic and dehumanizing' Richard Taruskin I was struck, recently, to read what Sylvia Townsend Warner told Vaughan Williams when he asked her, 'a little sternly', why she had given up composing for a literary career.

Richard Taruskin is an American musicologist, music historian, and critic who has written about the theory of performance, Russian music, 15th-century music, 20th-century music, nationalism, the theory of modernism, and analysis. Taruskin’s attacks on the concept of authenticity in Early Music threw many performers for a loop. Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field.