5.

The creator and the interpreter

This aesthetic problem did not exist during the early periods when the composer
invariably played his own composition. Today, however, it is necessary to distinguish
between the composers contribution and the performers in order to evaluate the
source of artistry in the rendition of musical composition.
What does the composer expect from his interpreter?
Strange enough, to a composer, technique and tonality are not as important as the
character of composition. To him all performing power is wasted if the work does not
communicate as it was intended. Hence, to a composer, a singer with nice
personality and good technique may not be adequate if she does not have the
tragic sense needed by the composition.
When we listen to a performer interpret a composition it is necessary to interpret
also the interpreter himself so that we may know how much he is contributing to the
composition. To judge this fairly, we must distinguish between the composer
thoughts and the degree in which the interpreter is reproducing it. for this, our
equipment must be:
a. An understanding of the style appropriate to the historical period of the
composition and to the composers development at that time
b. The ability to describe precisely the nature of the execution so that we may
particularize the qualities special to the performer.

TWO TYPES OF INTERPRETERS

1. The Romantic interpreter
2. The Classical interpreter
The romantic interpreter it is the more popular one today became most
compositions are romantic. this type of interpreter gives himself to a
performance and thereby has a great audience appeal.
An example of a romantic performer is Jose Iturbi.
The classical interpreter is impersonal. His objective is clarity of texture, a
sense of timing, continuity, and flow. in the Philippines, an example of this
type is the pianist, Ben Tupas.
Points to remember:
1. The reaction of the performer to composition he is re-creating is a delicate
one every pieces has its essential quality which the performer is not allowed
to betray.
2. Interpretation is largely a matter of emphasis.

3.The interpreter must have ease and relaxation

The enjoyment of music

Aaron Copland, the eminent composer,
Say that we all listen to music in three separate
Levels, according to our own capacities:
The sensuous level, the expressive level, and
the sheerly musical one.

The sensuous level

1. the simplest way is the sensuous, when we listen to the sounds without
considering them in any way. This is the level in which we enjoy music
by tapping our feet or swaying in time with melody.

Expressive level
In much the same way that we follow the complication of plays plot,
we listen to the meaning of music all listeners tell us that they hear
what music is saying ; the difficulty is that they cannot tell exactly
what they hear.

The sheerly musical one

Aside from the pleasurable sound of music and the expressive feeling
generates, it does exist in terms of notes and their manipulation. It is
necessary that listener reach this level if he is to appreciate music of
art. He must hear the melody, the harmony, the uses of tones colors,
without this more conscious and deliberate enjoyment of music.