Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction

The aim of this article is to problematize some definitions of music performance that have predominated in musicology prior to the performative tur...

Descripción completa

Detalles Bibliográficos
Autor principal: Castro Pavez, Paloma
Formato: Artículo revista
Lenguaje:Español
Publicado: Editorial de la Facultad de Artes 2024
Materias:
Interpretación musical
obra musical
composición musical
Estudios de la Performance
creación musical
Music performance
musical work
musical composition
Performance Studies
music creation
Acceso en línea:https://revistas.unc.edu.ar/index.php/avances/article/view/45501
Aporte de:
Avances de Universidad Nacional de Córdoba
id I10-R310-article-45501
record_format ojs
spelling I10-R310-article-455012025-03-28T18:06:49Z Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction Replanteando las obras abiertas desde la performance musical: una interpretación más allá de la reproducción Castro Pavez, Paloma Interpretación musical obra musical composición musical Estudios de la Performance creación musical Music performance musical work musical composition Performance Studies music creation The aim of this article is to problematize some definitions of music performance that have predominated in musicology prior to the performative turn, proposing a perspective focused on its active role in the processes of artistic creation. We will propose two meanings that will support the idea of work and music performance on which to work. The first one will be the notion of Open Work by Umberto Eco (1962) which will be used, contrasted and expanded to conjecture and delimit what refers to art work/musical work in this paper. Consequently, for the discussion about music performance, we will mainly use the Paradigm of Reproduction developed by Nicholas Cook (2014). Both concepts will be put into dialogue to solve the question: Music performance: creation or reproduction?. The suggested path leads to reflections that force us to think about performance from its scenic and phenomenological dimension, as well as to value the role of the performer, along with the diversity of artistic formats, and in this way commit the practice of music performance to musical creation. El objetivo de este artículo es problematizar algunas de las definiciones de interpretación musical que han predominado en la musicología previa al giro performativo, proponiendo una perspectiva centrada en su rol activo en los procesos de creación artística. Plantearemos dos acepciones que apoyarán las ideas de obra y de interpretación musical sobre las cuales trabajaremos. La primera será la noción de obra abierta de Umberto Eco (1962), la cual será empleada, contrastada y ampliada para conjeturar y delimitar lo referente a la obra de arte/obra musical en este trabajo. Consecuentemente, para la discusión en torno a interpretación musical nos valdremos principalmente del paradigma de la reproducción desarrollado por Nicholas Cook (2014). Ambos conceptos serán puestos en diálogo para resolver la pregunta: Interpretación musical, ¿creación o reproducción? El recorrido sugerido lleva a reflexiones que obligan a pensar la interpretación desde su dimensión escénica y fenomenológica, así como a poner en valor el papel del intérprete/performer junto con la diversidad de formatos artísticos y, de esta manera, comprometer la práctica de la interpretación musical con la creación musical. Editorial de la Facultad de Artes 2024-07-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-Blind Peer Review Paper Artículo revisados por pares (doble ciego) application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/avances/article/view/45501 Avances; Núm. 33 (2024); 93-105 2718-6555 1667-927X spa https://revistas.unc.edu.ar/index.php/avances/article/view/45501/45646 https://revistas.unc.edu.ar/index.php/avances/article/view/45501/45555 https://revistas.unc.edu.ar/index.php/avances/article/view/45501/45556 Derechos de autor 2024 Paloma Castro Pavez https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-310
container_title_str Avances
language Español
format Artículo revista
topic Interpretación musical
obra musical
composición musical
Estudios de la Performance
creación musical
Music performance
musical work
musical composition
Performance Studies
music creation
spellingShingle Interpretación musical
obra musical
composición musical
Estudios de la Performance
creación musical
Music performance
musical work
musical composition
Performance Studies
music creation
Castro Pavez, Paloma
Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction
topic_facet Interpretación musical
obra musical
composición musical
Estudios de la Performance
creación musical
Music performance
musical work
musical composition
Performance Studies
music creation
author Castro Pavez, Paloma
author_facet Castro Pavez, Paloma
author_sort Castro Pavez, Paloma
title Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction
title_short Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction
title_full Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction
title_fullStr Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction
title_full_unstemmed Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction
title_sort rethinking the “open works” from music performance: an interpretation beyond reproduction
description The aim of this article is to problematize some definitions of music performance that have predominated in musicology prior to the performative turn, proposing a perspective focused on its active role in the processes of artistic creation. We will propose two meanings that will support the idea of work and music performance on which to work. The first one will be the notion of Open Work by Umberto Eco (1962) which will be used, contrasted and expanded to conjecture and delimit what refers to art work/musical work in this paper. Consequently, for the discussion about music performance, we will mainly use the Paradigm of Reproduction developed by Nicholas Cook (2014). Both concepts will be put into dialogue to solve the question: Music performance: creation or reproduction?. The suggested path leads to reflections that force us to think about performance from its scenic and phenomenological dimension, as well as to value the role of the performer, along with the diversity of artistic formats, and in this way commit the practice of music performance to musical creation.
publisher Editorial de la Facultad de Artes
publishDate 2024
url https://revistas.unc.edu.ar/index.php/avances/article/view/45501
work_keys_str_mv AT castropavezpaloma rethinkingtheopenworksfrommusicperformanceaninterpretationbeyondreproduction
AT castropavezpaloma replanteandolasobrasabiertasdesdelaperformancemusicalunainterpretacionmasalladelareproduccion
first_indexed 2024-09-03T20:28:52Z
last_indexed 2025-05-10T05:09:22Z
_version_ 1831708930770731008

Ejemplares similares