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Antagonism and mutual dependency: critical models of performance and “piano interpretation schools”

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Resumo:To polarize and, coincidently, intersect two different concepts, in terms of a distinction/analogy between “piano interpretation schools” and “critical models” is the aim of this paper. The former, with its prior connotations of both empiricism and dogmatism and not directly shaped by aesthetic criteria or interpretational ideals, depends mainly on the aural and oral tradition as well the teacher-student legacy; the latter employs ideally the generic criteria of interpretativeness, which can be measured in accordance to an aesthetic formula and can include features such as non-obviousness, inferentially, lack of consensus, concern with meaning or significance, concern with structure or design, etc. The relative autonomy of the former is a challenge to the latter, which embraces the range of perspectives available in the horizon of the history of ideas about music and interpretation. The effort of recognizing models of criticism within musical interpretation creates the vehicle for new understandings of the nature and the historical development of Western classical piano performance, promoting also the production of quality critical argument and the communication of key performance tendencies and styles.
Autores principais:Cruz, Rui
Outros Autores:Lourenço, Sofia
Assunto:Aesthetic consciousness Critical models Interpretation Performance Piano interpretation schools
Ano:2011
País:Portugal
Tipo de documento:artigo original
Tipo de acesso:acesso aberto
Instituição associada:Universidade Católica Portuguesa
Idioma:inglês
Origem:Veritati - Repositório Institucional da Universidade Católica Portuguesa

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