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ON THE PHENOMENON OF MUSIC PERFORMANCE - A SHORT GUIDE FOR STUDENTS
Abstract
One of the oldest manifestations of the human being is singing. Along with the evolution of civilizations, musical instruments began to appear, having diversified and developed over time. From the earliest musical performance practices in various contexts and at different moments of the human life, to the grandiose concerts, recitals and opera performances in the world's most prestigious concert halls, using the most advanced instruments and techniques, the phenomenon of music performance has followed a complex path, culminating in the semantic supremacy of a language that has known universality. At this point in our lives, where a multitude of interpretative perspectives for a score have been reached, several questions naturally arise. What, how and who makes the difference between a banal interpretation and one that offers a moment of grace to the receiver of music? Can the musical score encompass all the language that the performing musician has to translate and transpose into the physical world? Are ethical, aesthetic and spiritual factors essential or optional in the process? From the mechanical execution of a musical text to its investment with meaning and vital energy, what are the steps, stages and forces that need to be engaged in the long process of acquiring the high status of a music performer? The profile of the performer and of music performance is shaped by an investment of time, physical and intellectual effort, backed up by a vast culture and personal experiences, as well as other elements of a metaphysical nature.
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References7
Stravinsky, Igor, Poetics of Music. Music Publishing House of the Union of Composers of Romania, Bucharest, 1967, pp. 93–111;
Dunsby, Jonathan, Performing Music: Shared Concerns. Clarendon Press, Oxford University Press, 1996;
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Johnson, Peter, Performance and the Analysis of Music: Functions Before, During and After Performance, in Musicology and Sister Disciplines: Past, Present and Future, David Greer (ed.), Oxford University Press, 2000, pp. 161–170;
Ivy, Peter. Authenticities: Philosophical Reflections on Musical Performance. Cornell University Press, 1995;
Raducanu, Mircea Dan. Introduction to the Theory of Musical Performance. Edit Dan Publishing, 2003;
Ionescu-Vovu, Constantin. Musical Performance: Specific Thinking, 2 vols., Grafoart Publishing, 2020.
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