Die interpretasie van musiektekste
Date
1991
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Stellenbosch : Stellenbosch University
Abstract
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).
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).
Description
Proefskrif (M. Mus.) -- Universiteit van Stellenbosch, 1991.
Keywords
Music -- Interpretation (Phrasing, dynamics, etc.) -- Interpretation (Phrasing, dynamics, etc.), Dissertations -- Music