Kivy distinguishes between three different claims to authenticity in the historical performance movement: authenticity with respect to the composer’s intention, authenticity with regard to sound, and authenticity in matters of performance practice. To this, Kivy adds a fourth notion of authenticity that does not figure in the idealized self-description of the historical performance movement but rather points to an alternative kind of authenticity championed by Kivy himself: the authenticity that a performance might have due to the sincerity of the artist (...) or artists performing it. Kivy proposes to examine each of those four notions of authenticity in two sets of four chapters each—with the first set operating at the descriptive level of conceptual analysis and the second set moving on to the evaluative level of aesthetic judgment. (shrink)

This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) conflict; and that when this happens, compromising ideal score compliance for the sake of making the performance more interpretively authentic can make for a better performance. (shrink)