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E-book Wits and Interpretation : Keyboard Thoughts

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Penilaian

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According to a widely held view in 20th- Century aesthetics, a music work is equivalent to the performances that conform to a certain score? And this notion complies with at least three requirements of a satisfactory ontology of the music work, or so it seems?1Thus, although a Beethoven manuscript would command a very high price, it is not very interesting as a unique physical object from a musical point of view? It may of course be valuable for collectors or have affection value, and it is indispensable as a source, but unlike, say, a van Gogh painting it has no value that any uncorrupted copy of it does not have as well? Beethoven scores in general, on the other hand, are musically crucial because they are records of compositions, and because they may give rise to performances?The association between a score and its performances means that the focus of the ontology is transferred from signs on paper to the domain of sound events? This is certainly a step in the right direction since (leaving some varieties of esoteric music out of account) an association with sound appears to be necessary?2Finally and perhaps most importantly, the reference to the class of conformant performances amounts to acknowledging, albeit by implication, the need in music ontology to take account of interpretation? A music work must have some musical properties, but scores, unless they are somehow interpreted, are devoid of such qualities?Nevertheless, the current idea of the ontology of the music work is deeply problematic?It seems that an unreasonably heavy burden is placed on notation when it is both used to secure the correspondence between a score and its performances, and to guarantee the identity between the members of the class of performances that are to constitute a certain music work? On closer consideration it appears that this kind of ontology entails some serious mistakes as regards the purpose and nature of musical notation?Furthermore, whether due to a fear of getting too involved in mental issues or to ambitions to provide a water- tight argumentation, the musical properties that are actually allowed to enter into the interpretation process, and thus are included into the performances making up the music work, are quite restricted? And this restraint turns out to be well- advised, indeed necessary, since if interpretation in the current and quite comprehensive musical sense were allowed, the identity between the performances constituting the music work would be at risk? The reluctance to open Pandora’s box indicates that the notion of ‘identity’ used when construing the ontology of the music work is unduly impoverished from a musical point of view? It seems that we are dealing with the “identification” of the work involved, rather than with its “identity”.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

780.72 EDL w

Penerbit

Switzerland : Peter Lang International Academic Publishers., 2023

Deskripsi Fisik

466 hlm

Bahasa

English

ISBN/ISSN

9783631890943

Klasifikasi

780.72

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Musicology

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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