ABSTRACT

Philosophical hermeneutics is underrepresented in the literature on music performance. Given the shift from Cartesian subjectivism to anti-subjectivism in the contemporary literature on improvised musical performance, it is somewhat surprising that hermeneutics does not figure more prominently. Since hermeneutics is characterized by a dialectical to-and-fro—the hermeneutical conversation—between interpreter and subject matter, it would appear to offer a strong foundation for an anti-subjectivist account of improvised musical performance. The aim of this essay is to offer such an account. Drawing primarily on the work of Hans-Georg Gadamer and Luigi Pareyson, this essay works through ideas related to the performer’s interpretation of pre-composed musical works, the context and content of the performance event, and the relational character of musical performance. It is argued that improvised musical performance necessarily relies upon a certain hermeneutic relationality.

摘要

哲学诠释学在音乐表演文献中的代表性不足。鉴于当代关于即兴音乐表演的文学作品中从笛卡尔主观主义到反主观主义的转变，解释学并没有更加突出，这有点令人惊讶。由于诠释学的特点是口译者和主题之间的辩证来回——诠释学对话，它似乎为即兴音乐表演的反主观主义解释提供了坚实的基础。本文的目的就是提供这样一个说明。本文主要借鉴 Hans-Georg Gadamer 和 Luigi Pareyson 的作品，通过与表演者对预先创作的音乐作品的解释、表演事件的背景和内容相关的想法进行研究，和音乐表演的关系特征。有人认为，即兴演奏必然依赖于某种解释学关系。