| Summary: | The article is devoted to a complex of actual problems of the modern
theory of musical performance. The author focuses on the problem of scientific
objectivity, reliability and evidence of the results of theoretical analysis
of interpretation by performer. In the process of developing the topic, one
of the key categories of interpretology is analyzed – “the author’s idea
of a musical piece” and the range of postulates associated with it that are
well-established in theory and relate to the implementation of the composer’s
idea in performer’s interpretation. The traditional ideas about the author’s
idea as a virtual-material phenomenon, fully recorded in the musical text and
comprehended on its basis, are revised and supplemented. Thus, they provoke
its understanding as “closed” in this space and as if stopped in time. This is
contrasted with the vision of the author’s idea, which is close to the ideas
of the “The Poetics of the Open Work” by Umberto Eco. This refers
to the consideration of the musical piece, first, as a dynamic artistic concept,
embedded in the integral creative consciousness of the composer, the aesthetics
and technologies of his art, as well as in the “texts of culture”; second, as open
to continuous reinterpretations in its movement in historical time; third, as
cognizable and evaluated in the indissoluble unity of objective, rational and
unconscious, subjective mechanisms of perception. In accordance with this
view, the question of the adequacy and evidence of the theoretical analysis
of the performance interpretation of the musical piece in its relation
to the author’s intention is discussed. It is suggested that the research
position, in turn, is an interpretation. Therefore, along with the need
to align their judgments and assessments with the existing scientific
paradigm, methodology, and current analytical strategies, the researcher-
theorist has a substantial right to “subjective space” in knowledge. In other
words, it is based on an insight inspired by a direct impression of what is
being studied, which should not call into question the scientific objectivity,
reliability and evidence of its provisions. Scientific and artistic interpretation
of the phenomena of performing arts, according to the author of the article, is
inherent in the very nature and essence of research and critical activity
in this field. This methodological approach also applies to the theoretical
analysis of performing interpretations of musical pieces.
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