Die interpretasie van musiektekste

Temmingh, Zorada (1991)

Proefskrif (M. Mus.) -- Universiteit van Stellenbosch, 1991.

Thesis

AFRIKAANSE OPSMOMMING: Hierdie tesis kan beskryf word as "'n interpretasie van interpretasie in die musiekclomein". Daar word besin oor die uitvoerende musikus, die musikoloog, die komponis en die lu!~teraar as interpreteurs. Terselfdertyd word die volgende model vir die beskrywing van 'n musiekwerk se geskiedenis (van sender tot ontvanger) ontwikkel: oerteks > leesteks > speelteks > hoorteks Hierdie model, wat herinner aan 'n htrmeneutiese sirkel, bring mee dat die gebruik van die woord "teks" dus aansienlik uitgebrei word. Die interpretasie-aktiwiteit word dikwels en onjuis as die prerogatief van die uitvoerende musikus beskou. Hierdie tesis probeer om hierdie aktiwiteit in 'n juister perspektief te plaas, naamlik dat, soortgelyk aan die sender/ontvanger-gebeure in ander kunste, in musiek die sender (die komponis) se boodskap (die musiekteks) primer 'n interpretasie van die uiteindelike ontvanger (die luisteraar) meebring.

ENGLISH ABSTRACT: This thesis can be described as "en interpretation of interpretation in tI·,e domain of m11sic". Consideration is given to the musician-performer, the musicologist, the composer and the listener as interpreters. At the same time the following model for the description of the history of a musicai work (from sender to receiver) is developed: inchoacive text > reader-text > performer-text > lis:ener-text This model, which resembles a hermeneutic circle, h2 the result that the use of the word "text" is accordingly extended considerably. The activity of interpretation is frequently and inaccurately regarded as the prerogative of the musician-p1!rformer. This thesis tries to put this activity in a more accurate perspective, namely that, similar to the sender/receiver event in other arts., in music the message (the music text) of the sender (the composer) brings about primarily an interpretation by the eventual receiver (the listener).

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