The Process of Musical Interpretation and the Play-Element in Music

Ruslan Kashyrtsev

doi:10.18535/ijsrm/v9i6.mt01

Abstract

The article is devoted to examination of such phenomenon as musical interpretation, which incorporates various aspects of composer’s and performer’s creativity, listener’s perception, different styles of musical art, creative communication in music. The attempt to find the traits of the play-element in the process of musical interpretation may help to define the mechanisms, through which “play” activity in music in general is realized. Systematic approaches of scholars of the play-element and theorists of artistic interpretation present great possibilities to conduct such a research.

Examination of theoretical points of view on beforementioned problems allowed to reach a conclusion that the play-element is inherent to the music and is expressed in the process of interpretation. This happens in the framework of the system “composer – performer – sound director – listener”, in which artistic interpretation plays a significant role.

Keywords

music artmusical interpretationartistic interpretation“Homo Ludens”interpretologymusical communication

References

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[refR-1] Adorno, T. (2008). Izbrannoe: sotsiologiya muzyiki [Selected: Sociology of Music]. Moscow, 448 [in Russian].Google Scholar ↗

[refR-2] Ansermet, E. (1976). Besedyi o muzyike [Talks about music]. Leningrad, 110 [in Russian].Google Scholar ↗

[refR-3] Borysenko, M. (2004). Zhanr transkryptsii v systemi indyvidualnoho kompozytorskoho styliu: dis. …kandydata mystetstvoznavstva [Genre of the transcription in the system of composer’s individual style]. (Candidate’s thesis). Kharkiv I. P. Kotlyarevsky National University of Arts [in Ukrainian].Google Scholar ↗

[refR-4] Caillois, R. (2001). Man, Play, and Games. University of Illinois Press, 208 [in English].Google Scholar ↗

[refR-5] Gurenko, E. (1982). Problemyi hudozhestvennoy interpretatsii (filosofskiy analiz) [Problems of the artistic interpretation (the philosophical analysis)]. Novosibirsk, 256 [in Russian].Google Scholar ↗

[refR-6] Huizinga, J. (2011). Homo Ludens: A Study of the Play-Element in Culture. Saint-Petersburg, 416 [in Russian].Google Scholar ↗

[refR-7] Koryihalova, N. (1979). Interpretatsiya muzyki [Interpretation of music]. Leningrad, 208 [in Russian].Google Scholar ↗

[refR-8] Moseley, R. (2016). Keys to Play: Music as a Ludic Medium from Apollo to Nintendo. University of California Press, 452 [in English]. Open access on JSTOR: https://www.jstor.org/stable/10.1525/j.ctt1kc6k47DOI ↗Google Scholar ↗

[refR-9] Moskalenko, V. (2012). Lektsii po muzyikalnoy interpretatsii: uchebnoe posobie [Lectures on the musical interpretation: tutorial]. Kyiv, 272 [in Russian].Google Scholar ↗

[refR-10] Nikolayevska, Y. (2021). Musical communication as an interpretative phenomenon (based on the creative work of the 20th – early 21st centuries): Doctor in Art Studies thesis. Kharkiv I. P. Kotlyarevsky National University of Arts [in Ukrainian].Google Scholar ↗

[refR-11] Shapovalova, L. (2008). Muzyka yak analoh osobystosti: do problemy refleksyvnoi osobystosti [Music as an analogue of personality: to the problem of reflective persinality]. (Extended abstract of Doctor’s thesis). National Music Academy of Ukraine named after P. I. Tchaikovsky. Kyiv, 34.Google Scholar ↗

[refR-12] Shapovalova, L. (2017). Interpretology as an integrative science. Problems of Interaction of Art, Pedagogy, Theory and Practice of Education, 46, 289-300 [in Russian].Google Scholar ↗

[refR-13] Stravinsky, I. (2012). Igor Stravinsky: hronika, poetika [Igor Stravinsky: Chronicle, Poetics]. Moscow – Saint-Petersburg, 368 [in Russian].Google Scholar ↗