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interpretation| In music, the manner in which a performer plays a work. Except in the case of prerecorded electronic music, which excludes the performer altogether, the limitations of notation mean that a composer cannot indicate the most subtle levels of dynamics, expression, articulation, and other details of performance practice. Inevitably the performer is responsible for these, although during some periods it has been the convention for the musician to take greater liberties than during others. For instance, the 18th-century performer had much greater freedom than the 20th-century performer, not only to alter a composer's dynamics and articulation without criticism, but also, to a degree, to change the notes themselves. |
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| ? Mentioned in | | ? References in periodicals archive |
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Amendment, Second
apocalyptic number
Archer, Thomas
Arrau, Claudio
Baker, Chet
Baker, Janet Abbott
Battle, Kathleen Deanne
Berman, Lazar
Böhm, Karl
Brendel, Alfred
| Donington, Robert
enharmonic
Fischer-Dieskau, Dietrich
Freud, Sigmund
Gemara
hermeneutics
Jenkins, David Edward
Modjeska, Helena
Perahia, Murray
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| A willingness to accept Steinberg's interpretational overlay is pretty much a prerequisite here. Carpenter (2001) described three interpretational frames of the FCE: (a) those who perceived their virginity as a stigma or burden, (b) those who perceived it as a precious gift, and (c) those who perceived it as a process or stage of maturity and development. On a more sustained view, their picturesque formulae and discreet subtitles--"Judentenberger Strasse, Illmensee," "Judenweg, Gunzberg," "Judenpfad, Rockenberg," and so forth--combine explosively, opening an interpretational chasm. |