The Historically informed musical work interpretation (HIP) in a semiotic aspect

Abstract

The main task of this article is to reveal the essence of the phenomenon of historically informed performance (HIР), which is considered in the context of the general problem of musical interpreting. The methodological basis of the study is the phenomenological, typological and semiotic approaches to music interpreting. The performance of a musical piece recorded by score is a complex process that begins with the musician’s sensual acquaintance with the musical text and ends with the process of creating a sound form. The attributive component of this process is interpretation (in the semiotic sense of the word). It is necessary to distinguish between two levels (or phases) of musical work interpretation. The first level (In-1) is the establishment of the generally accepted meaning of the graphic signs of the score. This interpretation is adequate if the interpreter knows all the meanings of the graphic signs accepted in this cultural practice. Or it is inadequate if the interpreter’s concepts and sound representations do not correspond to the generally accepted meaning of musical notation. The essence of the second level of a musical work interpretation (In-2) is to establish the artistic sense of an imaginary sound form as a complete sign, as well as the meaning of individual elements and properties of this form. The artistic sense of a musical sign is a complex cognitive-psychological reaction of an individual to a sound form, which includes: a) sensory and emotional-evaluative reaction (aesthetic response); b) understanding of generally accepted meanings and values of typical elements; c) unique sensory representations, experiences, thoughts of an individual. Solving the main task of the musical performance art – the task of reproducing the sound form designed and schematically fixed by the composer – the musician can realize two opposite, but in practice complementary intentions. The first of them (introvertive intention) is the desire to embody in sound form subjective feelings, ideas, emotions, concepts that are awakened by the composer’s sound project. The selection of performing means can be carried out rationally, based on reflection of the musician’s own psychological reactions, or irrationally, spontaneously, intuitively. The selection of performing means is often guided by the subjective criterion of beauty or expressive power of the sound. Such interpretations are always authentic. However, no one can objectively assess the adequacy of such an interpretation. Another (extrovertive) intention is the desire for an objective interpretation of the composer’s project. It can be based on a specific sample (standard) of performance or on a certain norm (manner, style) of interpretation. The adequacy of such interpretations can be judged objectively by analyzing the degree of compliance of the sound form created by the musician with a specific standard or performing style. The normative guidelines for extrovertive interpretation can be: a) personal style, which is inherent to the art of some musician-performer; b) ethnic style of music performance, inherent to a certain nationality, national school; c) genre style, determined by the functions of performing practice in certain cultural conditions of music-making; d) historical performing style, which appeared in a certain social environment at a certain historical stage. The phenomenon designated as historically informed performance (HIP) belongs to the last type of extrovertive intention of the performing musician. In its extreme (ultimate) expression, this intention is expressed in the desire to achieve authenticity of performance, when the interpretation of the work is adequate to all the norms of the historical performing style. Achieving the effect of authenticity is facilitated by diligent study of musical writing means, the extraction of any information regarding the nature of the sound form, the revival of the ancient techniques of singing and playing, the use of ancient instruments, the creation of special conditions and surroundings for representation.