Musical text of the second half of the 20th−21st century and interpretation in the projection of philosophical and aesthetic research

Abstract

This article examines approaches to interpreting music from the second half of the 20th and 21st centuries based on the study of musical texts. The author outlines perspectives for studying the characteristics of performers’ perception of modern music texts. The philosophical and aesthetic basis of the analysis is provided by the works of M. Bakhtin, J. Kristeva, R. Barth, M. Klein, R. Hatten, and T. Adorno, which explore the qualities of artistic texts that are significant for understanding the relationship between musical text and interpretation. Bakhtin’s theory identifies several concepts that are highly significant for analysis: “polyphony of texts” and “dialogue with perception”. M. Klein’s theory notes the definitions between monologue and dialogic writing, used to describe the differences between structuralist and poststructuralist analytical views. R. Hatten’s works reveal views on stylistic evolution, defining the ways in which various thematic elements are combined to create new expressive meanings (“troping”). From Kristeva’s work, the article borrows the concepts of “genotext” and “phenotext”, representing the interrelated dichotomy of two distinct forces. It emphasizes that the clash of textuality and performative embodiment is analyzed by Barthes, who defines the primacy of the performer’s empirical experience.