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<p><span style="font-size:10.5pt;font-family:"Arial",sans-serif">The final Musicology Colloquium presentation for the semester will be by
<strong><span style="font-family:"Arial",sans-serif">Goetz Richter</span></strong>.<o:p></o:p></span></p>
<p><strong><span style="font-size:10.5pt;font-family:"Arial",sans-serif">What is interpretation of music in performance?</span></strong><span style="font-size:10.5pt;font-family:"Arial",sans-serif"><o:p></o:p></span></p>
<p><span style="font-size:10.5pt;font-family:"Arial",sans-serif">Much confusion surrounds the nature of interpretation of music in performance. Ignoring its particular, embodied and temporal nature, we tend to regard performance as an event that can be objectively
rendered in recordings or alternatively unfolds in virtual spaces. More recently we refer to performance as the object of analysis in so-called performance research. While there are some performing musicians (Sergiu Celibidache) who reject the possibility
of the authenticity of recording, others (Glenn Gould) affirm recording as a privileged medium of performance. The urgency and significance of the question what the interpretation of music in performance actually is and how it takes place has been starkly
highlighted by an unprecedented closure of performance and concert life over the past two years. Furthermore, endeavours to teach such interpretation of music, still a central concern of some Conservatoria, would seem to require a clear view of what it is
that is supposed to be taught and what the merits of such a discipline actually are.<o:p></o:p></span></p>
<p><span style="font-size:10.5pt;font-family:"Arial",sans-serif">In this paper, I develop a philosophical answer to the question of the interpretation of music in performance through Hans Georg Gadamer’s discussion of the “hermeneutic consciousness” outlined
in his <em><span style="font-family:"Arial",sans-serif">Truth and Method</span></em>. Gadamer’s thinking opens a number of clear conceptual paths for any attempt to understand what modes of being, consciousness, knowledge or action are significant in this
artistic activity. Following these paths we will resuscitate the case for the unique intellectual and spiritual importance of the interpretation of music in performance which seems increasingly suffocated by postmodern ideology and opportunistic higher education
culture.<o:p></o:p></span></p>
<p><strong><span style="font-size:10.5pt;font-family:"Arial",sans-serif">Wednesday 18 May, 4pm</span></strong><span style="font-size:10.5pt;font-family:"Arial",sans-serif"><o:p></o:p></span></p>
<p><span style="font-size:10.5pt;font-family:"Arial",sans-serif">On zoom: <a href="https://uni-sydney.zoom.us/s/86714831012">
https://uni-sydney.zoom.us/s/86714831012</a><o:p></o:p></span></p>
<p><span style="font-size:10.5pt;font-family:"Arial",sans-serif">Password: 944469<o:p></o:p></span></p>
<p class="MsoNormal"><strong><span style="font-size:10.5pt;font-family:"Arial",sans-serif">All welcome</span></strong><o:p></o:p></p>
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