Musical interpretation in the context of the art of recording
DOI:
https://doi.org/10.32461/2226-3209.4.2020.219149Keywords:
music, art of sound recording, interpretation, performer, listener, sound engineer, artistic image.Abstract
The purpose of the article is to identify and characterize the peculiarities of interpretation as a unique phenomenon of musical art in the context of the specifics of sound recording. Methodology. The method of cultural-historical analysis was applied, which contributed to the consideration of the process of development and transformation of interpretation in musical art, and also helped to trace the specifics of the evolution of the art of sound recording; the comparative method, thanks to which the features of the interpretation of a piece of music by the performer, sound engineer and listener are revealed; philosophical, cultural and art history methods of analysis, which contributed to the identification of cause-and-effect relationships and regularities in the functioning of the peculiarities of musical interpretation in the art of sound recording, its consideration, and understanding in the unity of all elements, the reproduction of the context of the socio-cultural space in which this phenomenon developed. Scientific novelty. The musical interpretation is investigated in the context of the specifics of the art of sound recording; the influence of postmodern tendencies on the formation of a new paradigm of interpretation of recorded musical work is revealed; the problem of interpretation in the art of sound recording is characterized at the level of performing an interpretation of a musical work, its fixation as an important semantic process that generates new cultural meanings and sound engineering activities. Conclusions. The study revealed that in the context of the art of sound recording, musical interpretation manifests itself on several levels, since in a recorded musical work, as a material object that is accessible to the senses "in infinite variability of reading" (according to J. Derrida), through the prism of the personality of the author of the musical work, the performer and sound engineer embody ideas about reality, and artistic information encoded and decoded by them takes on its final form only in the mind of the listener.
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