According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible account of the value of HAP in work-performance regards HAP as a way of performing works of past centuries convincingly. However, this approach does not support the mainstream view because this only leaves HAP as an interpretive option. Finally, an alternative defence of the value of HAP in the form of an indispensability argument is considered: HAP is indispensable to accurately comply with a work’s score, and thus to perform it faithfully. This strategy supports the demands of the mainstream view, but we will see that, if we take this option seriously, HAP must be understood in a substantively different manner than the mainstream view does, such that it ultimately amounts to the second option analysed above.

根据音乐哲学的主流观点，真实地演奏过去几个世纪的作品的唯一方法是按照历史真实演奏（HAP）的理想。本文旨在表明，尽管最近对主流观点进行了辩护，但它缺乏动力，因此应该被放弃或修改。正如我们将看到的，首先，没有合理的解释将 HAP 作为与以工作为中心的工作绩效目的论相一致的最终和内在价值。其次，对 HAP 在工作绩效中的价值的合理解释将 HAP 视为令人​​信服地表演过去几个世纪作品的一种方式。然而，这种方法并不支持主流观点，因为这只使得 HAP 作为一种解释选项。最后，考虑以不可或缺论点的形式对 HAP 的价值进行另一种辩护：HAP 对于准确遵守作品的乐谱并因此忠实地执行它是必不可少的。这个策略支持了主流观点的要求，但我们会看到，如果我们认真对待这个选项，HAP必须以与主流观点本质上不同的方式来理解，这样它最终就相当于上面分析的第二种选项。