The pianist, professor, and researcher from San Sebastian (Basque Country, Spain) Josu Okiñena has published the first book in Spain about the scientific foundations of musical interpretation, an essay aimed at the postgraduate programs of European higher music centers.
The musical interpretation Scientific foundations for its development ‘, of OE Oficina Ediciones, was presented on Monday (08) at the headquarters of the Basque Country Music Center-Musikene, in San Sebastian, by its author and specialists Gabriel Erkoreka, president of Musika Bulegoa, and Carmen Gómez Nieto, doctor of the University of Valladolid.
In book and audio format, the work systematizes the process followed by the instrumentalist for the preparation and execution of a composition and presents innovative methods and techniques for the academic tradition, tasks for which Okiñena has taken as a reference center the Rhapsody in Sí minor Op. 79 num. 1 of Johannes Brahms.
Dr. Okiñena has commented that his motivation when carrying out this “hard work researcher” is based on the conviction that his “work as an interpreter is born from the need to give life to a work that already exists”, a task that “It is directly related to that of the composer”.
As indicated, has started from the premise that “the interpreter is not the only subject of knowledge” because, when studying the composition, “is placed as an observer” and “assumes some commitment to pretending to organize in order to offer a message”.
Okiñena has explained that the essay goes deeper into “systemic constructivism and the theory of knowledge, epistemology, of complexity”, theoretical frameworks in which he has found the scientific arguments to support “the process that the interpreter follows at the time of building your interpretation. ”
In a more graphic way, the researcher has played at the piano a brief passage of the aforementioned work by Brahms to show how the same fragment “can be interpreted in multiple ways”. “I have discovered that musical interpretation is produced by the interaction of meanings” that lead the musician “to make an interpretative decision”, which “depends” on several factors, among which he has cited the context in which he will play the work, the instrument that has, the characteristics of the room and the audience and their own emotional, emotional or personal situation.
It is, in short, to understand the interpretation as “a manifestation of my subjectivity, from the absolute respect to the text of the composer,” he concluded. “Despite the complexity of its content”, the essay stands out for its “clarity of approach”, underlined Professor and composer Erkoreka, who warned that “it is not a practical interpretation guide” but a reference work “For directors and all kinds of instrumentalists”.
The book “unites science and art” and analyzes how the interpreter “systematizes and organizes their ideas” when preparing a recital, as well as the different possibilities offered by the work, because the compositions “are not static”, said Gómez Nieto.
The essay, which will be translated in a few months into English, is distributed through the publisher’s website and in specialized stores.
Text published by El Diário Vasco