The success of the early music movement raises questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of historical reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach.

中文翻译：

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伽达默尔与早期音乐表演的诠释学

早期音乐运动的成功引发了关于表演历史作品的问题：音乐家是否应该在古代乐器上表演并尝试重建原始风格？如果历史上“真实”的表演是不可能的或不可取的，那么早期音乐运动的目标应该是什么？我求助于伽达默尔，通过构建早期音乐表演的诠释学大纲来回答这些问题。在论文的前半部分，我考察了伽达默尔对历史重建的批判，并认为这种批判揭示了早期音乐运动中的错误倾向和误解，但它并没有诋毁运动本身。在论文的后半部分，