Interpretation (from lat. interpretatio – clarification, interpretation) – arts. interpretation by a singer, instrumentalist, conductor, chamber music ensemble. works in the process of its performance, the disclosure of the ideological and figurative content of music will express. and tech. perform means. lawsuit. I. depends on the aesthetic. the principles of the school or direction to which the artist belongs, from his individual. features and ideological arts. intent. I. presupposes the individual. approach to the music performed, an active attitude towards it, the presence of the performer’s own. creative concept of the embodiment of the author’s intention.
Claim I. in own. sense of the word arises and develops from ser. 18th century, when the music. composition and performance are gaining more and more independence, and the performer becomes an interpreter not of his own compositions, but of works of art. other authors. The formation of art-va I. went in parallel with the process of gradual deepening of the individual principle in music, with the complication of its expression. and tech. funds.
The significance of the interpreter, the new type of musician, especially increased in the 19th century. Gradually, I.’s tasks become more complicated. They are folded diff. music styles. performance, there are associated with them psychological., ideological. and technological problems of performance, questions of mastery, schools, etc.
Features of I. outstanding performers of the 18-19 centuries. can be identified only on the basis of surviving letters. evidence, often incomplete and subjective. In cases where the performer was also the composer, creatures. help to establish the features of his I. provides a study of his creativity. style, in Krom always reflects the arts. individuality, which also determines the unique features of I. (N. Paganini, F. Liszt, F. Chopin, S. V. Rachmaninov, and others). The study of I. artists of the 19th century. facilitated and closer successions. communication perform. schools, as well as the presence of editions, processing and transcriptions of muses. works, the authors of which are usually outstanding performers. In them, in the musical notation itself, the muses are fixed. I. With the help of editing and processing music. prod. adapts to technical and art.-aesthetic. tendencies of the performance style, the representative of which is the interpreter (for example, “Folia” by Corelli in the transcriptions of J. Leonard, F. David and F. Kreisler, or “Campanella” by Paganini in the transcriptions of Liszt and F. Busoni, etc.). Means. assistance in the study of claims I. 20 century. provides a sound recording that has preserved many samples of I. of outstanding performers of the past (after the invention of the phonograph, gramophone recorder, and tape recording, the art of I. every year received more and more complete reflection in sound recordings). In the broad sense of the word, the features of I. are to some extent inherent in any verbal description, assessment of music – in analyzes, poetic. descriptions, etc.
References: see pr art. Musical performance.
I. M. Yampolsky