Musical theory and musical interpretation

For the musician interprets, the execution of a crescendo, a Trille, a phrased particular, etc, requires as much care than that of a against C or a difficult rhythmic figure. The fact that this article gathers, around the topic of interpretation , of the rather heterogeneous questions, means by no means which these subjects are less worthy of interest than those of the other articles: quite to the contrary, these questions are “ of very first importance from the point of view of the musical execution ”.

However, on the theoretical level, the contents of this article do not raise large difficulties of comprehension or deciphering. Contrary to the preceding articles indeed, one will find here no concept difficult to assimilate: nothing similar for example, in the passing treating of the traditional figuring of measurement, the intervals, the Tonality S, the modes, etc this article is thus simple a catalogs various complementary conventions of notation.

The strict laws of the notation of the rate/rhythm and the intonation must be with the service of musical interpretation, and not the reverse. Thus traditionally, the musician carrying out softens the rigidity of the rules of notation of the lasted and the height of the sounds, by taking “ a certain number of freedoms compared to the writing ”: improvisation S, various licenses, etc

It is impossible to make an exhaustive list of the many distorsions traditionally made by the interpreters with the rules of notation in the musical literature. One can however quote:

In the field of the durations, the reading in unequal values, expensive with the French music of the 17th century.

Concerning the Soloist S - vocal or instrumental -, the fact of being authorized to improvise over the duration of a Not of organ; the fact of adding or of cutting off purely and simply certain notes from the original melody; etc

However, to interpret does not mean “ to do all and anything ”: interpretation requires, quite to the contrary, of solids knowledge relating to the style of the country and the time on which depend the work, to the practices of the Compositeur concerned, and finally, with the technique of the instrument of destination.

This particular knowledge leaving the more general framework of a theory of musical theory, we will be satisfied here to release the “ general principles of musical interpretation ”, by inviting the visitor eager to increase his knowledge in this field, to refer during instrumental technique corresponding.

The contents of these articles should not thus be taken for an absolute and immutable truth: any element must be relativized there in function, on the one hand, let us repeat it, of the style of work - standard of instrument, time, Compositeur, etc -, on the other hand, of the clean sensitivity of the interprets.

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