RT info:eu-repo/semantics/doctoralThesis
T1 Expresión, intimidad y temporalidad en la interpretación musical
A1 Blanco Tascón, Mario
A2 Universidad de Valladolid. Escuela de Doctorado
K1 Música
K1 Musical interpretation
K1 Interpretación musical
K1 Philosophy of Music
K1 Filosofía de la Música
K1 Musical hermeneutics
K1 Hermenéutica musical
K1 6203.06 Música, Musicología
AB This dissertation undertakes a philosophical study of musical interpretation, conceived as a phenomenon where expression, intimacy, and temporality converge. Interpretation is approached not as a purely technical activity but as a practice in which work and performer mutually shape each other. The aim is to trace the historical emergence of this notion, to distinguish it from related concepts such as execution or version, and to reflect on its meaning in contemporary musical life.The first part reconstructs the genealogy of interpretation in Western music. Beginning with Rousseau and his emphasis on expression, the thesis shows how music gradually became associated with inner subjectivity, until Romanticism consolidated it as a language of intimacy. Schopenhauer’s metaphysical conception of music and Liszt’s transformation of virtuosity into expressive performance illustrate the consolidation of an art of autonomous works, in which the performer plays a central role. Music thus ceased to be mere execution of sounds and became mediation between subjectivity and a cultural heritage regarded as common property.The second part addresses the long-standing conflict between composer and performer. Against objectivist views, which subordinate performance to fidelity to the score, and against subjectivist positions, which dissolve the identity of the work into performer freedom, the thesis argues for a dialectical approach. In this perspective, work and performer co-determine each other in the act of performance: the score serves as mediation, yet meaning arises in the living moment, marked by temporality and open to creativity. Improvisation and play are not deviations but essential aspects of the interpretative act.The conclusions emphasize that interpretation is a process in which repetition and difference, technique and subjectivity, tradition and novelty intertwine. Far from being either deviation or reproduction, it constitutes a kairological space where music comes alive and is renewed with each realization. This opens paths for further inquiry: the relationship between performance and recording, the potential of analogical hermeneutics as a philosophical framework, and the challenges posed by artificial intelligence to musical practice. Ultimately, the dissertation argues for understanding music not only as an aesthetic object but as a living experience of expression and shared meaning.
YR 2025
FD 2025
LK https://uvadoc.uva.es/handle/10324/83355
UL https://uvadoc.uva.es/handle/10324/83355
LA spa
NO Escuela de Doctorado
DS UVaDOC
RD 10-mar-2026