This chapter examines the etymological and semantic ramifications of the term ‘work’ and argues that its use, within European music, is linked to the values of one particular ‘community of aesthetic taste’, the main reference point of which is Germany's bourgeois culture of the nineteenth century. Practitioners, devotees and scholars of modern popular music reject the work-concept not only because the ‘object’ is itself taxonomically resistant, but also because of their desire to identify with different, autonomous communities of taste. The chapter considers cultural pluralism within a class-based society and the notion of a musical work in the framework of popular music.
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