Publication: Un presente con futuro para la música del pasado (o la actualización del patrimonio musical).
Authors
Mestre, Salvador
item.page.secondaryauthor
item.page.director
Publisher
Universidad de Murcia, Servicio de Publicaciones
publication.page.editor
publication.page.department
DOI
https://doi.org/10.6018/cartaphilus.538351
item.page.type
info:eu-repo/semantics/article
Description
Abstract
Existe tradicionalmente una
preocupación especial sobre el acto interpretativo, su alcance y significación,
en lo relativo a la expresión y difusión de
un patrimonio musical desfasado genéticamente con el presente que, sin embargo, parece poseer una riqueza cultural prácticamente inagotable. Esto problematiza la figura del intérprete y su
función como mediador entre el compositor y el oyente, entre una época pretérita y la actualidad, lo cual conlleva un
factor temporal e histórico que debe implicar, por tanto, una relación activa, reflexiva y consciente entre el pasado y el
presente. ¿Cuánto de eterno hay en lo
viejo, cómo enfocar el hecho interpretativo para rescatar óptimamente del patrimonio musical histórico aquello que,
siendo quizá intemporal, sigue resultando culturalmente enriquecedor para
la espectacularizada sociedad globalizada actual? Sin embargo, ¿cómo escapar del peligro de convertirnos en meros
“intérpretes de museo”? Es decir: ¿cómo
salvar este abismo histórico y comunicar
un mensaje del pasado de manera actual, valiosa e interesante sin traicionar
la intención comunicativa de la composición original? El uso intenso y, sobre
todo, analítico y reflexivo de los nuevos
recursos tecnológicos aplicados al tratamiento del sonido podría ser una vía óptima para conseguir este objetivo sobre
el fundamento de un enfoque hermenéutico actualista.
There is traditionally a special concern about the interpretative act, its scope and significance, with regard to the expression and dissemination of a musical heritage that is genetically out of step with the present, which nevertheless seems to possess an almost inexhaustible cultural wealth. This problematises the figure of the performer and his function as mediator between the composer and the listener, between a past epoch and the present, which entails a temporal and historical factor that must therefore imply an active, reflexive and conscious relationship between the past and the present. How much of eternity there is in the old, how the interpretative fact should be approached in order to optimally rescue from the musical historic heritage that which, being perhaps timeless, is still culturally enriching for today's spectacularised globalised society? But how can we escape the danger of becoming mere "museum interpreters"? In other words: how to bridge this historical gulf and communicate a message from the past in a contemporary, valuable and interesting way without betraying the communicative intent of the original composition? The intensive and, above all, analytical and reflexive use of new technological resources applied to the treatment of sound could be an optimal way to achieve this objective on the basis of an actualist hermeneutic approach.
There is traditionally a special concern about the interpretative act, its scope and significance, with regard to the expression and dissemination of a musical heritage that is genetically out of step with the present, which nevertheless seems to possess an almost inexhaustible cultural wealth. This problematises the figure of the performer and his function as mediator between the composer and the listener, between a past epoch and the present, which entails a temporal and historical factor that must therefore imply an active, reflexive and conscious relationship between the past and the present. How much of eternity there is in the old, how the interpretative fact should be approached in order to optimally rescue from the musical historic heritage that which, being perhaps timeless, is still culturally enriching for today's spectacularised globalised society? But how can we escape the danger of becoming mere "museum interpreters"? In other words: how to bridge this historical gulf and communicate a message from the past in a contemporary, valuable and interesting way without betraying the communicative intent of the original composition? The intensive and, above all, analytical and reflexive use of new technological resources applied to the treatment of sound could be an optimal way to achieve this objective on the basis of an actualist hermeneutic approach.
publication.page.subject
Citation
item.page.embargo
Collections
Ir a Estadísticas
Este ítem está sujeto a una licencia Creative Commons. CC BY 4.0