Antagonism and Mutual Dependency. Critial Models of Performance and “Piano Interpretation Schools”

  • Rui Cruz CITAR: Research Centre for Science and Technology of the Arts, Portuguese Catholic University | Porto
  • Sofia Lourenço CITAR: Research Centre for Science and Technology of the Arts, Portuguese Catholic University | Porto ESMAE / IPP: Superior School of Music, Porto Polytechnic Institute, Portugal
Keywords: Critical Models, Aesthetic Consciousness, Piano Interpretation Schools, Performance, Interpretation

Abstract

To polarize and, coincidently, intersect two different concepts, in terms of a distinction/analogy between “piano interpretation schools” and “critical models” is the aim of this paper. The former, with its prior connotations of both empiricism and dogmatism and not directly shaped by aesthetic criteria or interpretational ideals, depends mainly on the aural and oral tradition as well the teacher-student legacy; the latter employs ideally the generic criteria of interpretativeness, which can be measured in accordance to an aesthetic formula and can include features such as non-obviousness, inferentially, lack of consensus, concern with meaning or significance, concern with structure or design, etc. The relative autonomy of the former is a challenge to the latter, which embraces the range of perspectives available in the horizon of the history of ideas about music and interpretation. The effort of recognizing models of criticism within musical interpretation creates the vehicle for new understandings of the nature and the historical development of Western classical piano performance, promoting also the production of quality critical argument and the communication of key performance tendencies and styles.

Author Biographies

Rui Cruz, CITAR: Research Centre for Science and Technology of the Arts, Portuguese Catholic University | Porto
Rui Cruz is a Ph.D. Student at the Research Center for Science and Technology in Art, School of Arts, Portuguese Catholic University, having earned his Licentiate degree in Piano, and a Master’s degree in Piano Performance, from Porto Superior School of Music. His research interests center on critical and aesthetical approaches to musical performance and on the qualitative theories regarding performance analysis and reception.
Sofia Lourenço, CITAR: Research Centre for Science and Technology of the Arts, Portuguese Catholic University | Porto ESMAE / IPP: Superior School of Music, Porto Polytechnic Institute, Portugal
Sofia Lourenço is a pianist, born in Porto, where she con- cluded graduate studies (Conservatory of Music of Porto, Faculty of Arts, Porto University). Pupil of Helena Sá e Costa since 10 years of age, was also guided by several pianists of reference (Sequeira Costa, V. Margulis, A. Larrocha, G. Sebok, C. Cebro, G. Sava, L. Simon). She obtained a Diploma in Piano Soloist (Abschlussprüfung Klavier) at the Universität der Künste Berlin, a scholarship by the Gulbenkian Foundation (Lisbon). She is a professor of piano at the ESMAE / IPP since 1991. Completed the degree of Doctor of Music and Musicology at the University of Évora in 2005. Senior reseacher since 2007 (Director Musical Studies) at Research Center of Sciences and Technology of the Arts (CITAR) of the School of the Arts at Portuguese Catholic University. Dedicated to the dissemination of Portuguese music, has recorded three solo CDs for the label Numérica (in 2008, “Romantic Porto: Mazurka and Romanza”). Integrates the “Oficina Musical”, resident group in Porto since 1978 with their activity oriented to the dissemination of contemporary music.

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Published
2011-12-20