Indeterminate notation, interpretative tradition, and technical reproducibility: towards a critical perspective for the realization of indeterminate experimental works
DOI:
https://doi.org/10.14409/rism.2024.25.e0060Keywords:
interpretation theory, experimental music, technical reproductionAbstract
This study addresses, from a theoretical point of view, the interpretation of indeterminate experimental music of American origin as a practice whose development has been based on the postulates of the New York School. In this area, common interpretative notions are examined, which, by supporting a direct and unmediated way for the elaboration of the sounds of a work, are problematic. For this, a connection is established between realization and the subjective regime that establishes technical reproducibility (Benjamin, 2020). The purpose is to reveal the way in which the serial objects typical of a field determine the dialect of the interpreter, allowing him to create versions that meet the expectations of said field (Mattes, 2015). In this sense, discursive and practical notions are examined according to two aspects typical of all musical notation: prescription and description (Kanno, 2007). As enabling concepts, these allow us to glimpse the conventions that interpretation, given the framework in which it operates, reproduces. In this way, this study contributes to laying the foundations for an interpretive perspective conscious of the tradition that informs it enabling critical exploration and expanding the scope of an indeterminate practice.
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