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THE ROLE OF MUSICAL HERMENEUTICS IN THE FORMATION OF A CULTURE OF INTERPRETATION IN PERFORMERS
Corresponding Author(s) : Dina Vladimirovna Kharicheva
Humanities & Social Sciences Reviews,
Vol. 8 No. 2 (2020): Education Special Issue
Abstract
Purpose of the study: The purpose of this work is to consider the possibilities of hermeneutics in developing the skill of understanding a musical text as one of the main mental abilities of musician-performers.
Methodology: The study is based on the method of hermeneutics, the method of analyzing a musical text, which is widely used in the humanities and social sciences in general and plays an essential role in art criticism. Unlike other methods, text analysis uses the point of view of the author of the text. Interpretative and content analysis are the two primary forms of textual analysis of cultural artifacts. Interpreting textual analysis seeks to go beyond the surface of the meaning and explore the hidden "message" of the author.
Main Findings: The main findings of the study are that the role of musical hermeneutics is important in the professional training of contemporary performers in connection with the need to develop their ability to understand a musical text and form a culture of interpretation.
Applications of this study: This research can be used in musicological analysis and the process of professional education of musician-performers and theorists. The novelty of the work consists in proving the effectiveness of the method of musical hermeneutics in the formation of a culture of interpretation in performers.
Novelty/Originality of this study: The method turned out to be effective for not only the theory of literature, hermeneutics, and semiotics, but also for musicology and the work of composers and performers directly working with intertexts.
Keywords
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- Adolph, W. (2015). Theological aesthetics of music as hermeneutic task of the post-postmodernism. Neue Zeitschrift fur Systematische Theologie und Religions philosophie, 57(4), 501–520. https://doi.org/10.1515/nzsth-2015-0025 DOI: https://doi.org/10.1515/nzsth-2015-0025
- Akopian, L. (1995). Analiz glubinnoi struktury musykalnogo teksta [Analysis of the Deep Structure of a Musical Text]. Moscow, Praktika.
- Ambrosch, G. (2017). Punk as literature: Toward a hermeneutics of Anglophone punk songs. Arbeitenaus Anglistik und Amerikanistik, 42(1), 101–120.
- Aranovskii, M. (1998). Musikalnyitekst: struktura I svoistva [Musical Text: Structure and Properties]. Moscow, Kompozitor.
- Barthes, R. (1989). Izbrannyeraboty. Semiotika. Poetika. [Selected works. Semiotics. Poetics]. Moscow, Progress.
- Barthes, R. (2001). S/Z. Moscow, URSS.
- Benhamou, J. (2019). A hermeneutics of musical texts of the 17th century and the first half of the 18th century: Intersemiotic approach. Etudes Theologiques et Religieuses, 94(1), 169–181. https://doi.org/10.3917/etr.941.0169 DOI: https://doi.org/10.3917/etr.941.0169
- Bitzan, W. (2016). A milestone of symbolist music. A Multi-perspective examination of Nikolai Medtner's Sonata-Ballade Op. 27. Music Scholarship, 3, 6–14. https://doi.org/10.17674/1997-0854.2016.3.006-014 DOI: https://doi.org/10.17674/1997-0854.2016.3.006-014
- Clarke, D. (2011). Between hermeneutics and formalism: The Lento from Tippett's concerto for orchestra (Or: Music analysis after Lawrence Kramer). Music Analysis, 30(2–3), 309–359. https://doi.org/10.1111/j.1468-2249.2011.00307.x DOI: https://doi.org/10.1111/j.1468-2249.2011.00307.x
- Eckerson, S.E. (2012). Contrarianism in the philosophy of music and the role of the idea in musical hermeneutics and performance interpretation. Teorema, 31(3), 137–148.
- Enescu, A. (2015). On music phenomenology. Revista Transilvania, 11, 95–96.
- Galatenko, U. (2007). Evolutsiia musykalnosti italianskoi poezii: ot Dzh. Marino do P. Metastazio: avtoreferat dissertatsii filologicheskikh nauk [The Evolution of the Musicality of Italian Poetry: from Giambattista Marino to Pietro Metastasio: Abstract of the Dissertation of the Candidate of Philological Sciences]. Moscow.
- Gerver, L. (2001). Musika i musikalnaia mifologiia v tvorchestve russkikh poetov (pervye desiatiletiia XX veka) [Music and Musical Mythology in the Works of Russian Poets (the First Decades of the Twentieth Century)]. Moscow, Indrik.
- Gutiérrez-Pozo, A. (2019). The essay or the philosophy of wandering meaning. The interpretative nature of the essay as an artistic mediation between metaphysical logocentrism and nihilistic dissemination. Anuario Filosofico, 53(1). https://doi.org/10.15581/009.53.1.003 DOI: https://doi.org/10.15581/009.53.1.003
- Hamlin, C.L. (2015). An Exchange between Gadamer and Glenn Gould on Hermeneutics and Music. Theory, Culture and Society, 33(3), 103–122. https://doi.org/10.1177/0263276415576218 DOI: https://doi.org/10.1177/0263276415576218
- Kramer, L. (2001). Musical Meaning: Toward a Critical History. Los Angeles: University of California Press, 350. DOI: https://doi.org/10.1525/9780520928329
- Kramer, L. (2016). The Thought of Music. University of California Press, 204. https://doi.org/10.1525/california/9780520288799.001.0001 DOI: https://doi.org/10.1525/california/9780520288799.001.0001
- Kristeva, J. (2004). Izbrannye Trudy [Selected Works]. Moscow, ROSSPEN.
- Lotman, U. (2007). Problemy “vsemirnoi otzyvchivosti†Pushkina i bibleiskie reministsentsii v ego poeziii “Borise Godunove†[The Problem of “Universal Sympathy†of Pushkin and Biblical Reminiscences in His Poetry and “Boris Godunovâ€]. Pushkin. Saint Petersburg, Vita Nova.
- Medushevskii, V. (1993). Intonatsionnaia forma musyki [Intonational Form of Music]. Moscow, Kompozitor.
- Moore, A.F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. London, Taylor and Francis, 387–399. https://doi.org/10.4324/9781315609898 DOI: https://doi.org/10.4324/9781315609898
- Pereverzeva, M., Anufrieva, N., Avramkova, I., Korsakova, I., Shcherbakova, A. (2018). Orientation of musical disciplines as a condition for the formation of competencies. Opcion, 34(17), 719–730.
- Pontara, T. (2015). Interpretation, imputation, plausibility: Towards a theoretical model for musical hermeneutics. International Review of the Aesthetics and Sociology of Music, 46(1), 3–41.
- Pylaeva, L.D., Pylaev, M.E. (2017). On the evolution of the methodology of musical analysis in the system of scientific views by C. Dahlhaus. Man in India, 97(25), 97–106.
- Reynolds, N. (2012). Hermeneutics and an understanding of children's electronic musical compositions. Music Education Research, 14(3), 309–327. https://doi.org/10.1080/14613808.2012.703176 DOI: https://doi.org/10.1080/14613808.2012.703176
- Riera, G.J.M. (2015). The interpretation of historic music trough the philosophic hermeneutic. Musica Hodie, 15(2), 214–219.
- Verishko, O. (2004). Kompositsii s intellektualnoi modelu v svete khudozhestvennoi sistemy E. V. Denisova: avtoref. diss. … kand. isk [Compositions with an Intellectual Model in the Light of the Artistic System of E. V. Denisov: Abstract of the Dissertation of the Candidate of Art Criticism]. Moscow.
- Vygotsky, L. (1986). Psikhologiia iskusstva [Psychology of Art]. Moscow, Iskusstvo.
- Yee, T.B. (2018). Narrating Near-Death Experience: Chopin's "revolutionary Étude" as an interpretive key in Eternal Sonata. Chinese Semiotic Studies, 14(3), 329–346. https://doi.org/10.1515/css-2018-0020 DOI: https://doi.org/10.1515/css-2018-0020
- Zbikowski, L.M. (2008). Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. London, Oxford University Press, 376.
References
Adolph, W. (2015). Theological aesthetics of music as hermeneutic task of the post-postmodernism. Neue Zeitschrift fur Systematische Theologie und Religions philosophie, 57(4), 501–520. https://doi.org/10.1515/nzsth-2015-0025 DOI: https://doi.org/10.1515/nzsth-2015-0025
Akopian, L. (1995). Analiz glubinnoi struktury musykalnogo teksta [Analysis of the Deep Structure of a Musical Text]. Moscow, Praktika.
Ambrosch, G. (2017). Punk as literature: Toward a hermeneutics of Anglophone punk songs. Arbeitenaus Anglistik und Amerikanistik, 42(1), 101–120.
Aranovskii, M. (1998). Musikalnyitekst: struktura I svoistva [Musical Text: Structure and Properties]. Moscow, Kompozitor.
Barthes, R. (1989). Izbrannyeraboty. Semiotika. Poetika. [Selected works. Semiotics. Poetics]. Moscow, Progress.
Barthes, R. (2001). S/Z. Moscow, URSS.
Benhamou, J. (2019). A hermeneutics of musical texts of the 17th century and the first half of the 18th century: Intersemiotic approach. Etudes Theologiques et Religieuses, 94(1), 169–181. https://doi.org/10.3917/etr.941.0169 DOI: https://doi.org/10.3917/etr.941.0169
Bitzan, W. (2016). A milestone of symbolist music. A Multi-perspective examination of Nikolai Medtner's Sonata-Ballade Op. 27. Music Scholarship, 3, 6–14. https://doi.org/10.17674/1997-0854.2016.3.006-014 DOI: https://doi.org/10.17674/1997-0854.2016.3.006-014
Clarke, D. (2011). Between hermeneutics and formalism: The Lento from Tippett's concerto for orchestra (Or: Music analysis after Lawrence Kramer). Music Analysis, 30(2–3), 309–359. https://doi.org/10.1111/j.1468-2249.2011.00307.x DOI: https://doi.org/10.1111/j.1468-2249.2011.00307.x
Eckerson, S.E. (2012). Contrarianism in the philosophy of music and the role of the idea in musical hermeneutics and performance interpretation. Teorema, 31(3), 137–148.
Enescu, A. (2015). On music phenomenology. Revista Transilvania, 11, 95–96.
Galatenko, U. (2007). Evolutsiia musykalnosti italianskoi poezii: ot Dzh. Marino do P. Metastazio: avtoreferat dissertatsii filologicheskikh nauk [The Evolution of the Musicality of Italian Poetry: from Giambattista Marino to Pietro Metastasio: Abstract of the Dissertation of the Candidate of Philological Sciences]. Moscow.
Gerver, L. (2001). Musika i musikalnaia mifologiia v tvorchestve russkikh poetov (pervye desiatiletiia XX veka) [Music and Musical Mythology in the Works of Russian Poets (the First Decades of the Twentieth Century)]. Moscow, Indrik.
Gutiérrez-Pozo, A. (2019). The essay or the philosophy of wandering meaning. The interpretative nature of the essay as an artistic mediation between metaphysical logocentrism and nihilistic dissemination. Anuario Filosofico, 53(1). https://doi.org/10.15581/009.53.1.003 DOI: https://doi.org/10.15581/009.53.1.003
Hamlin, C.L. (2015). An Exchange between Gadamer and Glenn Gould on Hermeneutics and Music. Theory, Culture and Society, 33(3), 103–122. https://doi.org/10.1177/0263276415576218 DOI: https://doi.org/10.1177/0263276415576218
Kramer, L. (2001). Musical Meaning: Toward a Critical History. Los Angeles: University of California Press, 350. DOI: https://doi.org/10.1525/9780520928329
Kramer, L. (2016). The Thought of Music. University of California Press, 204. https://doi.org/10.1525/california/9780520288799.001.0001 DOI: https://doi.org/10.1525/california/9780520288799.001.0001
Kristeva, J. (2004). Izbrannye Trudy [Selected Works]. Moscow, ROSSPEN.
Lotman, U. (2007). Problemy “vsemirnoi otzyvchivosti†Pushkina i bibleiskie reministsentsii v ego poeziii “Borise Godunove†[The Problem of “Universal Sympathy†of Pushkin and Biblical Reminiscences in His Poetry and “Boris Godunovâ€]. Pushkin. Saint Petersburg, Vita Nova.
Medushevskii, V. (1993). Intonatsionnaia forma musyki [Intonational Form of Music]. Moscow, Kompozitor.
Moore, A.F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. London, Taylor and Francis, 387–399. https://doi.org/10.4324/9781315609898 DOI: https://doi.org/10.4324/9781315609898
Pereverzeva, M., Anufrieva, N., Avramkova, I., Korsakova, I., Shcherbakova, A. (2018). Orientation of musical disciplines as a condition for the formation of competencies. Opcion, 34(17), 719–730.
Pontara, T. (2015). Interpretation, imputation, plausibility: Towards a theoretical model for musical hermeneutics. International Review of the Aesthetics and Sociology of Music, 46(1), 3–41.
Pylaeva, L.D., Pylaev, M.E. (2017). On the evolution of the methodology of musical analysis in the system of scientific views by C. Dahlhaus. Man in India, 97(25), 97–106.
Reynolds, N. (2012). Hermeneutics and an understanding of children's electronic musical compositions. Music Education Research, 14(3), 309–327. https://doi.org/10.1080/14613808.2012.703176 DOI: https://doi.org/10.1080/14613808.2012.703176
Riera, G.J.M. (2015). The interpretation of historic music trough the philosophic hermeneutic. Musica Hodie, 15(2), 214–219.
Verishko, O. (2004). Kompositsii s intellektualnoi modelu v svete khudozhestvennoi sistemy E. V. Denisova: avtoref. diss. … kand. isk [Compositions with an Intellectual Model in the Light of the Artistic System of E. V. Denisov: Abstract of the Dissertation of the Candidate of Art Criticism]. Moscow.
Vygotsky, L. (1986). Psikhologiia iskusstva [Psychology of Art]. Moscow, Iskusstvo.
Yee, T.B. (2018). Narrating Near-Death Experience: Chopin's "revolutionary Étude" as an interpretive key in Eternal Sonata. Chinese Semiotic Studies, 14(3), 329–346. https://doi.org/10.1515/css-2018-0020 DOI: https://doi.org/10.1515/css-2018-0020
Zbikowski, L.M. (2008). Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. London, Oxford University Press, 376.