Musical Interpretation – mediated interface between science and art
Luminita Rotaru-Constantinovici
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Abstract
Abstract: - The goal of this text is to open a path to overcoming stereotypes, to reconsider some ideas and performing methods of the interpretation practice, use of musical texts in original form and present interpretive performance. Power to communicate emotion through music belongs to a creative interpreter, mediator between text and audience, between the message and the world. We light opportunities to participate in individual and collective to the experience of interactions from the interface mediated by the interpreter. Through the Magic of double play, the space of interpretation increases in meaning, conventions, culture. Key-Words: - Interpretation, interface, method, practice, actuality.
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NTNU Open Access, 2018
In this artistic research project, I have performed contemporary works and reflected upon my artistic practice in order to make the processes and insights accessible to a wider audience. This is presented in this pdf as a written reflection, as well as the website exposition www.makingsense.no showing a shortened presentation of my artistic research project, with video and sound examples, as well as the three final artistic presentations realized in November 2017. My reflections have been developed from a performer’s perspective; I have worked with both embodied knowing with my instrument and cognitively with interpretation and the performer’s development. I outline, explain and show a means by which this can be realized. In order to do this, I open the space before and after the musical performance through reflection on the complex process of preparing a work for concert: from practice, rehearsals, and musical analysis of the works, to what happens during the performance. I hope to awaken an interest in both performer and listener of contemporary art music with respect to the musician’s role and the psychophysical inner work of the musical performer. I have throughout the project aimed at developing my musical performance and tacit knowledge, broaden and contextualize my artistic research and performances in an international context, and to contribute to new knowledge about interpretation, embodiment and presence from a performer’s perspective. My initial research question and research aims have been guides and sources of motivation throughout my project and have helped me define the parameters of my research. I have built my reflections on and around concepts related to these aims as tools for understanding and artistic development. This project develops strategies for performing contemporary music, strategies that are inspired by rhetoric performance practices, the creation of presence in performing, and how to use such practices to become a freer interpreter of contemporary music. The artistic research project is by nature a multi-faceted endeavour and has created an intriguing laboratory setting in which my contemporary music performance could be continually thought and reworked. The title Making Sense refers to my intention to create an embodied feeling of sense through my performances both for performer and listener, without a logocentric meaning 1) Initial research question: How can I perform contemporary classical music to communicate more directly with the listener, by working with presence as a performer, and using prosody (the melody and rhythm of the language) as an inspiration for performance? My main research aims have been: * to explore different methods for reaching an intensified presence in performing. * to describe the process of learning and performing a musical work – both physically and mentally thus using and documenting a reflective practitioner approach to musical experience. * to create new understandings about practice with particular attention to contemporary music. This artistic research project has been inspired by music- as-speech. I aim to develop a more internally controlled playing, and to use affects as a sort of artistic “raw” material for expression, in other words, to develop “the psychophysical musician”. When I talk about affects I see them as autonomous intensities in the body, independent of our conscious self and happening before our feelings. I think of the embodied affects in the music as being not the actual notes on the score nor the personal feelings of the performer, but rather a use of the raw material in ourselves in the interpretation of the music. Jane O’Dea describes it as: ”[…] not their own personal emotions, but the expressive content enshrined in the score” (O’Dea, 2000, p. 57). As the performer I am not trying to add my feelings to the expressions of the music, but use these embodied affects as a resource in the performance. My writing communicates my reflections on working with artistic development. Language has become a key to communicate the thoughts and processes of a performative inquiry, and gives an explicit verbal account of the implicit knowledge and understanding embodied in artistic practices and products, while at the same time art may escape or go beyond what can be expressed by words and resist (academic) conventions of accountability. In my project, I studied these questions through one performer, myself, and give a reflective account of the lived experience of developing as a performer while broadening my knowledge through artistic research. My study accounts for the specific ways in which meaning is created as interaction between performer, embodiment, and audience, and opens up space for a more subjective type of reflection than traditional scientific research allows for. With this in mind, I could say that I have attempted to explore the world of musical performance rather than explain it.
ZGMTH Sonderausgabe 2021 Musikalische Interpretation als Analyse
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