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Journal articles on the topic 'Interpretation - music'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Harrell, Jean G. "The Interpretation of Music." International Studies in Philosophy 27, no. 4 (1995): 118–19. http://dx.doi.org/10.5840/intstudphil199527447.

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2

Boutard, Guillaume, and François-Xavier Féron. "Documenting acousmatic music interpretation." Journal of Documentation 75, no. 1 (2019): 99–119. http://dx.doi.org/10.1108/jd-03-2018-0037.

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PurposeExtending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.Design/methodology/approachThe methodology relies on the grounded theory. A total of 12 Interviews wer

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3

Ter Ern Loke, Andrew. "Theology and Philosophy of Religion in Richard Wagner’s Parsifal." Neue Zeitschrift für Systematische Theologie und Religionsphilosophie 62, no. 3 (2020): 372–88. http://dx.doi.org/10.1515/nzsth-2020-0019.

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SummaryThe interpretation of Richard Wagner’s music drama Parsifal has been one of the most philosophically and theologically controversial. Over the years various interpretations have been given, among them Buddhist, Schopenhauer-ian, anti-semite, and Christian. In this paper, I argue that this music drama is fundamentally a Christian work. I begin by discussing some methodological and background historical issues. I consider difficulties concerning bias in interpretation and the complicated intellectual life of Wagner, and propose to overcome these difficulties by testing various interpretat

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4

Gigliucci, Roberto. "Music and Poetry: a Call for Interpretation." Humanitas 66 (December 10, 2014): 407–19. http://dx.doi.org/10.14195/2183-1718_66_21.

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This essay concerns the relationship between Music and Poetry, to arrive to a personal conception of the artwork as an interpretative object. The musico-literature matter is a complex starting point to build an idea according to which the pleasure of understanding is the final purpose of the arts; aim of art is the position of a meaning, but in a realm of ambivalence-ambiguity, or better complexity: the two main examples – very distant but both basic – of Euripides and Mozart constitute the hearth of this contribute.http://dx.doi.org/10.14195/2183-1718_66_21

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5

Agi, Daniel, and Helen Bledsoe. "PERFORMING LUIGI NONO'S FLUTE MUSIC." Tempo 72, no. 285 (2018): 5–19. http://dx.doi.org/10.1017/s0040298218000062.

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AbstractA performer of Luigi Nono's late works is often faced with crucial questions regarding interpretation and technical details. An important tradition has evolved in performing these works, nevertheless it is not always easy to find the necessary information to play them adequately. This article attempts to answer some of the technical and interpretational questions in the context of Das atmende Klarsein and A Pierre – Dell'Azzurro silenzio, inquietum. Our hope is that it will contribute to the discussion about authenticity and freedom of interpretation and provide flutists with practical

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6

Zaslaw, Neal, Robert Donington, and Mary Cyr. "The Interpretation of Early Music." Notes 50, no. 3 (1994): 946. http://dx.doi.org/10.2307/898548.

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7

Dunbar-Hall, Peter. "Intercultural music: Creation and interpretation." Musicology Australia 29, no. 1 (2007): 199–201. http://dx.doi.org/10.1080/08145857.2007.10416601.

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8

Dreyfus, Laurence. "Beyond the Interpretation of Music." Journal of Musicological Research 39, no. 2-3 (2020): 161–86. http://dx.doi.org/10.1080/01411896.2020.1775087.

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9

Saxena, Manjula. "Krausz on Interpretation in Music." Philosophy in the Contemporary World 12, no. 1 (2005): 71–73. http://dx.doi.org/10.5840/pcw20051216.

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10

Ding, Hao. "Another Approach to Musical Interpretation." Chinese Semiotic Studies 16, no. 3 (2020): 439–58. http://dx.doi.org/10.1515/css-2020-0024.

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AbstractMusic is neither a construction of pitches nor a linear arrangement of vocal parts, but rather an energetic shaping through time that integrates articulation, harmony, melody, and rhythm. Music expresses a kind of gesture in the dimension of sounds. In most cases, musical expressions, compared to linguistic expressions, are more like a state of motion or a behavior of sounds originating from physical sensations. Musical gesture can interpret the emotional expression and meaning of music from a perspective that is closer to the nature of music. Such an interpretation is not constrained

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11

Ziv, Naomi, and Maya Goshen. "The effect of ‘sad’ and ‘happy’ background music on the interpretation of a story in 5 to 6-year-old children." British Journal of Music Education 23, no. 3 (2006): 303–14. http://dx.doi.org/10.1017/s0265051706007078.

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Children hear music in the background of a large variety of situations and activities. Throughout development, they acquire knowledge both about the syntactical norms of tonal music, and about the relationship between musical form and emotion. Five to six-year-old children heard a story, with a background ‘happy’, ‘sad’ or no melody. Results show that background music affected children's interpretation of the story: ‘happy’ background music led to positive interpretations, whereas ‘sad’ background music led to more negative interpretations of the story. The effect of ‘happy’ music was stronger

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12

Shcholokova, Olha, Natalia Mozgalova, and Iryna Baranovska. "Interpretation of musical composition: a methodical aspect." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 151–58. http://dx.doi.org/10.24195/2617-6688-2019-3-21.

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The article presents the issue regarding activation of artistic and interpretative activities of the students majoring in musical specialties at higher pedagogical educational institutions. The artistic-interpretative activity is considered as a factor of students’ creative development, growth and self-realization. The method of categorical analysis of the issue “interpretation” facilitated the establishment of a number of its values which were considered and implemented in the step-by-step experimental methods of training future music teachers in interpreting musical works. The course and res

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13

Mishchanchuk, Viktoriia. "Suggestive techniques in music-performing training of future music art teachers: methodological aspect." SHS Web of Conferences 75 (2020): 04007. http://dx.doi.org/10.1051/shsconf/20207504007.

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The article deals with the use of suggestive techniques, which by influencing the conscious and subconscious sphere of future music arts teachers through the use of verbal and non-verbal, external and internal means of influence, will contribute to the disclosure of their inner potential, the development of creative thinking as well as the realization of their abilities into the practical activities. The author defines various spheres of the suggestive techniques use, in particular, in the process of future music teachers training and provides own interpretation of the concept of “suggestive t

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14

Hagberg, Garry L., and Michael Krausz. "The Interpretation of Music: Philosophical Essays." Journal of Aesthetics and Art Criticism 54, no. 2 (1996): 201. http://dx.doi.org/10.2307/431100.

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15

Bradshaw, Susan, and Michael Krausz. "The Interpretation of Music: Philosophical Essays." Musical Times 134, no. 1807 (1993): 516. http://dx.doi.org/10.2307/1002749.

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16

López-Sintas, Jordi, Àngel Cebollada, Nela Filimon, and Abaghan Gharhaman. "Music access patterns: A social interpretation." Poetics 46 (October 2014): 56–74. http://dx.doi.org/10.1016/j.poetic.2014.09.003.

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17

Judkins, Jennifer, and Michael Krausz. "The Interpretation of Music: Philosophical Essays." Journal of Aesthetic Education 30, no. 3 (1996): 113. http://dx.doi.org/10.2307/3333327.

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18

Thom, P. "The Interpretation of Music in Performance." British Journal of Aesthetics 43, no. 2 (2003): 126–37. http://dx.doi.org/10.1093/bjaesthetics/43.2.126.

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19

ROCHE, ELIZABETH. "EARLY MUSIC: ITS REVIVAL AND INTERPRETATION." Music and Letters 70, no. 3 (1989): 382–84. http://dx.doi.org/10.1093/ml/70.3.382.

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20

Papierski, Maciej. "Music As Translation. Musical Motifs in Liebert’s Poetry." Tekstualia 1, no. 5 (2019): 59–66. http://dx.doi.org/10.5604/01.3001.0014.4100.

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This article is devoted to analyses of musical motifs in poetry by a Polish author Jerzy Liebert (1901–1934). Two main kinds of metaphorically understood music can be distinguished in his work: the earthly, referring to human fi niteness, and the transcendental, which is the divine music of God. In the investigation of this problem, Boethian typology of music (musica mundana, musica instrumentalis, musica humana) is engaged. The results of these analyses contribute to the understanding of how the human condition confronts the perfect nature of the Creator in Liebert’s poetry. The article argue

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21

Huberth, Madeline, and Takako Fujioka. "Performers’ Motions Reflect the Intention to Express Short or Long Melodic Groupings." Music Perception 35, no. 4 (2018): 437–53. http://dx.doi.org/10.1525/mp.2018.35.4.437.

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Some movements that musicians make are non-essential to their instrumental playing, yet express their intentions and interpretations of music’s structures. One such potential interpretation is the choice to emphasize short melodic groupings or to integrate these groupings into a phrase. This study aimed to characterize the nature of head motions associated with either interpretation by having cellists play two versions of a musical excerpt: 1) with short groupings specified, and 2) with long groupings specified. Cellists were filmed by two video cameras (front and right-side perspective) and t

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22

Ihde, Don. "Technologies—Musics—Embodiments." Janus Head 10, no. 1 (2007): 7–24. http://dx.doi.org/10.5840/jh20071012.

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Today recorded music probably accounts for the single largest category of music listening. This essay seeks to re-frame the usual understanding of the role of that type of music. Here the history and phenomenology of instrumentally mediated musics examines pre-historic instruments and their relationship to skilled, embodied performance, to innovations in technologies which produce multistable trajectories which result in different musics. The ancient relationship between the technologies of archery and that of stringed instruments is both historically and phenomenologically examined. This narr

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23

Hill, Andrew. "Understanding Interpretation, Informing Composition: audience involvement in aesthetic result." Organised Sound 18, no. 1 (2013): 43–59. http://dx.doi.org/10.1017/s1355771812000234.

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This paper documents elements of a research project undertaken between 2008 and 2012. Building upon the Intention/Reception project of Leigh Landy (2006) and Rob Weale (2005), the project sought to investigate audience interpretations for works of electroacoustic audiovisual music and to utilise an expanded understanding of the audience – as active participants in interpretation – to subsequently inform the composition of new works. This project combined three distinct research methodologies: empirical data collection, scholarly research and composition. The composed works were both informed b

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24

Radiushyna, Svitlana, and Maryna Tkachenko. "Pedagogical conditions for the development of future Music teachers’ interpretative skills in the process of choral and conductorial training." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (2020): 90–98. http://dx.doi.org/10.24195/2617-6688-2020-1-12.

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The article analyses the essence, content and specificity of future music teachers’ interpretive skills. The purpose of the article is to substantiate pedagogical conditions favourable for effective development of future music teachers’ interpretive skills in the process of their choral and conductorial training. These methods of theoretical research are used: analysis, generalisation, synthesis, extrapolation, deduction, systematisation. Interpretation is seen as the basis and the necessary condition for understanding a piece of music, the subjective (personal) attitude and creative imaginati

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25

Knyt, Erinn E. "Ferruccio Busoni and the “Halfness” of Frédéric Chopin." Journal of Musicology 34, no. 2 (2017): 241–80. http://dx.doi.org/10.1525/jm.2017.34.02.241.

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Ferruccio Busoni (1866–1924) championed Frédéric Chopin’s music. Yet his performances often elicited responses of shock or amusement because they rebelled against the prevalent sentimental style of interpretation associated with an “effeminate” Chopin. Even some of his staunchest admirers had trouble appreciating his unprompted repeats of measures or structural wholes in the preludes or etudes, his registral alterations, and his overly intellectualized approach. Also unusual was his choice to program the preludes as a complete cycle. Scholars have documented Busoni’s interpretive eccentricitie

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26

Hadjinikos, George. "Logic and Foundations of Music Interpretation: Atonality–Tonality." British Journal of Music Education 6, no. 3 (1989): 277–88. http://dx.doi.org/10.1017/s0265051700007233.

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Music can communicate between human beings across barriers of time and space because it emanates from the very origins of human existence. It expresses the totality of all aspects of human life. Hence music education should be of primary concern and availability to everyone, not simply the ‘musical’. Increasing specialisation and fragmentation has reduced music to either utilitarian service or mere entertainment (muzak), whilst music education habitually misses the faculty of communication. This is happening at a time when, amidst the mounting alienation of society, people hunger for communica

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27

Haug, Andreas. "Zur Interpretation der Liqueszenzneumen." Archiv für Musikwissenschaft 50, no. 1 (1993): 85. http://dx.doi.org/10.2307/931149.

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28

Koopman, Ton, and Antony Bye. "Brain, Heart and Interpretation." Musical Times 131, no. 1774 (1990): 679. http://dx.doi.org/10.2307/966743.

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29

Tischler, Hans. "rhythmische Interpretation eines Trouvèreliedes." Die Musikforschung 32, no. 1 (2021): 17–25. http://dx.doi.org/10.52412/mf.1979.h1.1715.

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30

Damgaard, Andreas Riis. "Hvem er ærens konge, der?" Dansk Teologisk Tidsskrift 80, no. 4 (2017): 258–81. http://dx.doi.org/10.7146/dtt.v80i4.106360.

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Sigmund Mowinckel created a highly influential interpretation of the Psalter. In this interpretation, Ps 24 played a particularly important role due to its antiphonic style. The antiphonic style of the psalm is widely represented in the reception history of the psalm – especially in classical music. For example, Handel's chorus piece Lift up ye Heads in his oratorio Messiah is structured in an antiphonic manner. Mowinckel’s exegesis and the music composed by Handel have similar structures in their representations of Ps 24 – in spite of the different aims of their interpretations. However, both

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31

Atkinson, Simon. "Interpretation and musical signification in acousmatic listening." Organised Sound 12, no. 2 (2007): 113–22. http://dx.doi.org/10.1017/s1355771807001756.

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AbstractThe challenges of understanding musical meaning are considered in light of ways in which electroacoustic practice and acousmatic listening might embody yet further nuances in how music can function as a signifying system. ‘Classical’ semiotics is discussed, as well as more recent developments with post-structuralist approaches and musical semantics in other areas of music scholarship. The idea, inherited from the tradition of ‘absolute music’, that musical meaning lies exclusively in the inner operations of the musical materials and their structural organisation, is questioned. Concept

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32

Lima, Marlon Barros de. "Aspectos e sugestões interpretativas em obras para trombone solista do Maestro Duda." Revista Principia - Divulgação Científica e Tecnológica do IFPB 1, no. 42 (2018): 111. http://dx.doi.org/10.18265/1517-03062015v1n42p111-119.

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The present article is the final result of the research on the interpretation of musical works for trombone soloist composed by the famous conductor, Maestro Duda, developed in the Postgraduate Program in Music of the Music School of the Federal University of Rio Grande do Norte (PPGMUS-UFRN). With this research, we could make interpretative suggestions that would help the trombonist in the preparation and execution procedures of the studied works: Two Dances (Gizelle and Marquinho in Frevo), Fantasia for Trumpet and Trombone and Suíte Monette. Therefore, we will present some questions which r

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33

Tarasti, Eero. "Music Models Through Ages: A Semiotic Interpretation." International Review of the Aesthetics and Sociology of Music 17, no. 1 (1986): 3. http://dx.doi.org/10.2307/836621.

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34

Tarasti, Eero. "Music Models Through Ages: A Semiotic Interpretation." International Review of the Aesthetics and Sociology of Music 25, no. 1/2 (1994): 295. http://dx.doi.org/10.2307/836948.

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35

Wong, Peter Yih-Jiun. "The Music of Ritual Practice—An Interpretation." Sophia 51, no. 2 (2012): 243–55. http://dx.doi.org/10.1007/s11841-012-0324-2.

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36

Preston, Joan M., and Michael Eden. "Viewing music videos: Emotion and viewer interpretation." Zeitschrift für Medienpsychologie 14, no. 2 (2002): 69–79. http://dx.doi.org/10.1026//1617-6383.14.2.69.

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Abstract. Music video (MV) content is frequently measured using researcher descriptions. This study examines subjective or viewers’ notions of sex and violence. 168 university students watched 9 mainstream MVs. Incidence counts of sex and violence involve more mediating factors than ratings. High incidents are associated with older viewers, higher scores for Expressivity, lower scores for Instrumentality, and with video orders beginning with high sex and violence. Ratings of sex and violence are associated with older viewers and lower scores for Instrumentality. For sex MVs, inexperienced view

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37

Terrien, Pascal. "For a Didactical Approach to Electroacoustic Musics: The example of Metallics by Yan Maresz." Organised Sound 18, no. 2 (2013): 161–69. http://dx.doi.org/10.1017/s1355771813000071.

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This paper observes the conditions of reception and understanding of music using the theoretical concepts of learning (Chevallard 1985; Brousseau 1998) adapted to the teaching of these various musics (Terrien 2006). We verify, in the light of an epistemological questioning, the nature of electroacoustic music, and if the didactic transposition (Verret 1975; Chevallard 1985) applied to Yan Maresz's Metallics allows us to understand the phenomena of music (listening, intention-reception: issues of perception and interpretation), and identify issues of language. Our contribution is a tool for ref

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38

Utz, Christian. "Zur Poetik und Interpretation des offenen Schlusses." Die Musikforschung 73, no. 4 (2021): 324–54. http://dx.doi.org/10.52412/mf.2020.h4.3.

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This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open endings challenge the aesthetic difference between the musical art-work and everyday experience, a tendency, that can be traced back to the emergence

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39

Sutcliffe, Tom, Opera Workshop, and Raymond Warren. "Studies in Understanding and Interpretation." Musical Times 136, no. 1834 (1995): 667. http://dx.doi.org/10.2307/1003565.

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40

Seskir, Sezi, and David Hyun-Su Kim. "Introduction: Topics in Musical Interpretation." Journal of Musicological Research 39, no. 2-3 (2020): 83–87. http://dx.doi.org/10.1080/01411896.2020.1778428.

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41

Garst, Marilyn M. "How Bartók Performed His Own Compositions." Tempo, no. 155 (December 1985): 15–21. http://dx.doi.org/10.1017/s0040298200021847.

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Performers of 20th-century music have more information about how the music is to be performed than do performers of earlier music. Since the Baroque era, composers have become more explicit in their notation, greatly simplifying questions of interpretation. In addition to the advantage of explicit notation, performers can often have personal contact with a living composer about interpretative questions. In the case of Béla Bartók, there are also recordings of the composer performing his own works. Such recordings are useful adjuncts to the musical notation.

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42

Ward, Pete. "Spiritual Songs as Text: Genre and Interpretation." Journal of Youth and Theology 1, no. 1 (2002): 49–64. http://dx.doi.org/10.1163/24055093-90000089.

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Contemporary worship songs are a contextualisation of the Christian faith in popular culture. As such they may be read as genre in relation to other styles of popular music. This paper discusses the use of genre in the study of popular music and then uses the interpretative pattern resulting from this discussion to develop a complex multilayered reading of one specific worship song.

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43

Münzmay, Andreas, and Christine Siegert. "Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang." Editio 33, no. 1 (2019): 10–30. http://dx.doi.org/10.1515/editio-2019-0002.

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Abstract The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work‘ and of the musical ‚text‘. The outcome of this thought experiment which considers music as performative art, Beethoven’s and other classical composers’ own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific

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44

Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.

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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice to

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45

Williams, Sean. "Interpretation and Performance Practice in Realizing Stockhausen's Studie II." Journal of the Royal Musical Association 141, no. 2 (2016): 445–81. http://dx.doi.org/10.1080/02690403.2016.1216059.

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ABSTRACTIn the 1950s, using electronic devices to make music seemed a new paradigm for composers eager to remove the effects of interpretation on their relationship with their audience. The promise was that compositional ideas could be directly made into sound with the help of a technician whose task it was to carry out instructions. By making a new realization of Stockhausen's Studie II, composed in 1954, I interrogate many of the original techniques and practices, and show that there are many sites which require interpretation and raise issues of performance practice. The implication of thes

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46

Гужва, О. П., and Н. В. Миколайчук. "INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 151–62. http://dx.doi.org/10.33287/221931.

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The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as a

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47

Bishop, Laura, and Werner Goebl. "Negotiating a Shared Interpretation During Piano Duo Performance." Music & Science 3 (January 1, 2020): 205920431989615. http://dx.doi.org/10.1177/2059204319896152.

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Most notated forms of music require interpretation of loosely-defined score instructions. For music ensembles, coordinating a shared interpretation in which each performer plays a complementary role can be challenging, especially if performers have already established their own individual interpretations. This study aimed to identify the patterns of behavior that distinguish performance in collaborative and solo conditions. We tested the hypothesis that highly skilled pianists would be motivated to create more expressively variable and divergent interpretations in the collaborative duet settin

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48

O'Loughlin, Niall, and Anthony Rowland-Jones. "Playing Recorder Sonatas: Interpretation and Technique." Musical Times 133, no. 1798 (1992): 629. http://dx.doi.org/10.2307/1002518.

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49

Fuss, Hans-Ulrich. "Richard Strauss in der Interpretation Adornos." Archiv für Musikwissenschaft 45, no. 1 (1988): 67. http://dx.doi.org/10.2307/930668.

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50

Domokos, Zsuzsanna. "Gretchen’s figure in Liszt’s musical interpretation." Studia Musicologica 54, no. 4 (2013): 389–96. http://dx.doi.org/10.1556/smus.54.2013.4.5.

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The salvation role of Gretchen, embodying the “Ewig-Weibliche,” has already been mentioned by several scholars analyzing Liszt’s “Faust” Symphony. According to them, Liszt found the most direct models to the characterization of the female protagonist of his work in Wagner’s operas. This interpretation can be made more differentiated in the view of another musical quotation of the “Gretchen” movement of the Symphony. I would like to go further on the basis of some concrete musical analogies, following the genesis of the composition and Liszt’s writings. I seek to answer the following questions:

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