Music Teachers National Association

The Nebulous Art of MUSICAL INTERPRETATION

Author(s): RICHARD K. WEERTS
Source: American Music Teacher, Vol. 14, No. 3 (JANUARY–FEBRUARY 1965), p. 26, 34
Published by: Music Teachers National Association
Stable URL: http://www.jstor.org/stable/43536864
Accessed: 29-05-2017 02:26 UTC

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 RICHARD K. WEERTS London: H. W. Gray Co., 1915, pp.
11-12.):
"The pupil will emancipate himself
by gaining a knowledge of the notes
which generate expression, and of
the modes of execution adopted by
the great artists to express their
sensations. He will no longer de-

The Nebulous Art of

pend solely and blindly on the sen-
timent of his master, but on his own,
enlightened by reason and study,
and will discover for himself how to
give life and poetry to the works

MUSICAL INTERPRETATION
which he executes."
Other performers and teachers rely
entirely on the notation as the ultimate
guide and final authority for the cor-
rect interpretation. Mursell points out:
"Although the constant tendency of
notation is to indicate more and
more the composer's intention, it
can only feature the high points of
musical structure. The notation can
Introduction of the music thoroughly. He must only give the performer certain
cues. To make a proper use of these
The art of musical interpretation is have creative imagination and a per-
cues, he must rely on his musical
indeed a complex and intricate one. sonal-emotional approach to the workunderstanding."
Yet, in many cases, it is interpretation if his performance is to be lifted above
Pound states (Gomer Pound, "Variety
that separates a good musical perform- the dry and the pedantic. in Tone Color" The Clarinet. Vol. 20,
ance from a superb one - an artist All too many teachers tend to be Autumn, 1955, p. 9.):
from a fine technician. It is entirely quite rigid and dogmatic when the "Our system of notation is adequate
possible for a musician (or musical or- question of interpretation arises. Most only to a degree. Beyond a certain
ganization) to perform in tune, with appear to be firmly convinced of thepoint it is a matter of artistic inter-
good tone quality, play everything on correctness of their interpretative ideas pretation on the part of the per-
former."
the printed page and yet sound banal, and seem to have little or no sympathy
VanderCook points out that: "At best,
bland, and uninspiring. As Vander- with other interpretations. However,
a page of music may be considered as
Cook states (H. A. VanderCook, Ex- the possibility of many widely differ-
a blue print of the plans and specifica-
pression in Music. Chicago: Rubank, ing yet very acceptable musical inter-
tions of the melody and the manner
Inc., revised edition, 1942, p. 1.): pretations has been brought out by a
number of eminent authorities. Aaron in which it is to be played."
"However, even if he follows these
plainly marked directions to the let- Copland has pointed out (Aaron Cop- Thus, the study of interpretation
ter, the performer will still find a should broaden and extend the stu-
land, What to Listen for in Music.
great deal lacking in his rendition dent's musical understanding and pre-
New York: McGraw-Hill Book Co.,
of the passage, especially so after he sent him with some ideas to aid in the
has heard an experienced and artis- Inc., 1939, p. 247.):
development or alteration of his own
tic musician interpret it." "A composition is, after all, an or-
ganism. It is a living, not a static, interpretation. Mursell has stated:
Needless to say the art of musical
thing. That is why it is capable of "Instead of slavish copying there should
interpretation is difficult to explain being seen in a different light and be musical understanding, and along
verbally and perhaps equally difficult from different angles by various with that, some initiative in interpre-
to comprehend. Clearly, it makes interpreters or even by the same tation."
music an art and not merely a routine interpreter at different times."
mechanical science. Ferguson suggests (Donald N. Fergu- Ways to Develop Interpretation
son, On the Elements of Musical Ex- It becomes apparent that musical
The Teaching of Musical Interpretation
pression. Minneapolis: University of interpretation is clearly a developmen-
Galamian terms interpretation "theMinnesota, 1944, p. 61.): tal process that accrues over a period
final goal of all instrumental study,"While a given figure may have an of time. Moreover, interpretation
its only raison d'etre " (Ivan Gala- elemental or intrinsic value of sug- should never become fixed and static.
gestion, the possibility of appropri- There must be room for musical
mian, Principles of Violin Playing and ate musical variation is as great as
Teaching. Englewood Cliffs Prentice- the variety of mood that demands growth and change in musical expres-
Hall, Inc., 1962, p. 6.). Teaching ac- expression." sion. The mature artist is continually
cording to rigid and inflexible rules, Mursell comments (James L. Mursell, seeking to alter - usually minutely and
using the same material for every Music Education. New York: Silver
imperceptibly - his interpretation.
student, and demanding that the stu- Burdett Co., 1956, p. 284.): One of the best ways to develop the
dent attempt to emulate one "correct" "It is very valuable for a mature ar- highly creative process of musical in-
interpretation are all open to a great tist to hear how other performers terpretation is via extensive, intensive,
deal with a work that he himself is
deal of question. The material used studying, even though he may not continual, and intelligent listening to
in teaching must all be adapted to the follow their interpretation." fine performances. There is no substi-
individual needs of each student. The Lussy states (Mathis Lussy, Musicaltute for hearing and studying fine live
student must understand the meaning Expression. Tr. by M. E. Von Glehn. (continued on page 34)

26 THE AMERICAN MUSIC TEACHER

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INTERPRETATION . . . models to be imitated or even emu- might find a genuine and intriguing
(continued from page 26)lated.
Nor would there appear tomusical
be goal to strive for. An experi-
enced performer may well approach
much worth in merely labeling certain
performances. Where this is not pos-
the expression of a composition in a
interpretations as "inferior" and others
sible fine recordings can be of great
as "superior." It is inferred that, to completely new and different light as
help. Actually, both live performances
make this kind of study a learning ex- a result of insights gained from the
and recordings can be used to great ad-
perience leading toward maximum study of several contrasting perform-
vantage.
musical growth, one must consider the ances. The teacher can use the widely
Performing with a fine musician in
different interpretations as aids in de- differing recorded performances to
a chamber group or orchestra can be
veloping clear and lucid perceptions point out the vast number of possi-
a great source of help and inspiration.
of the compositions as pieces of music. bilities and variations in appropriate
When possible (and when one is avail-
It seems reasonable to conclude that musical expression as he guides and
able) studying with an artist teacher-
once a thorough musical comprehen- encourages his students in the develop-
performer is another excellent ap-
sion has been achieved the individual ment of their distinctive styles.
proach to the development of inter-
can be expected and indeed encour- It can also be concluded that nota-
pretation. Perhaps it should be em-
aged to develop his own interpretation. tion, per se, should not be viewed as
phasized that the musician must have
Again, however, it is emphasized that the consummate guide and terminal
a good technical command of his
individuals should have acquired the authority in developing an interpreta-
medium of musical expression whether
necessary preliminary musical and tion. Notation plays an important role
this be voice, clarinet, violin, band, or
technical development to commence and should be a useful guide, but an
orchestra. The better technical facility
at this level of study. artistic expression can better evolve
he possesses the freer he will be to
Another value which would seem to through musical understanding and in-
concentrate on musical expression. In
a like manner, the better the performer
accrue from the intensive study of sight gained from a knowledge of
knows the printed notation the more many dissimilar musical performances many interpretations.
is the development of a genuine ap- Clearly, the nebulous art of musical
released he will be to think of express-
ing it in an artistic and musical man- preciation and respect for other mu-
interpretation must be pursued in a
ner. sicians' modes of musical expression. systematic and well-planned manner
An unbiased, objective approach to by all serious musicians. It is the soul
Conclusions
such a study would seem to be essen- of our profession.
The value of studying many diverse tial in order for the greatest possible
interpretations would not seem to be Richard K. Weerts is Associate Pro-
musical development to take place.
fessor of Music , State Teachers College,
fully realized by considering any asIn many interpretations a student Kirksville, Missouri.

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34 THE AMERICAN MUSIC TEACHER

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