A reflection on the construction of meaning in musical performance from the perspective of the indeterminate music performer

Abstract

This work is an offshoot of the ongoing doctoral research entitled, Acaso e indeterminação na música brasileira: uma análise do repertório violinístico após 1950. Here we will discuss the genealogy of the concept of musical work until its crystallization around 1800 and its reflections on the development of musical notation and performance; the aesthetic-compositional transformations that emerged from the second half of the twentieth century and its main aspects; finally, we seek to offer a brief reflection on the construction of meaning in musical performance from the perspective of the indeterminate music interpreter, that is, the one that is subject to multiple interpretations and intersubjective relations. For this, we made use of three works that provided philosophical support: Lydia Goehr's The Imaginary Museum of Musical Works (1992), which endeavored to trace the genealogy of the concept of musical work; Estética: Teoria da Formatividade (1993) by Luigi Pareyson, in which the author analyzes the work of art from a formative point of view - the work as an object under construction and in permanent formation; and Obra Aberta by Umberto Eco (2003), which presents a close relationship with the previous reading and deals, among other things, with the dichotomy between open and closed work.