Authentic, Fake or Mistaken Identity?

Fraud, forgery, counterfeiting, various types of falsification – but also, in their day, perfectly legitimate practices of using or importing music by other authors in one’s own artistic works, whether intended seriously or as a hoax – predictably arouse great interest and curiosity in modern musicology. The articles in this volume, edited by Metoda Kokole, fall into three groups. The first deals with clear-cut musical fakes, the faking of documents in order to create spoofs and the fraudulent misattribution of the authorship of music in bygone centuries, while the second re-examine the authenticity of surviving early instruments and expand historically oriented research to include methods taken from the modern natural sciences, and the third assesses authorship in music in chosen examples.