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Spill Og Refleksjon SPILL OG REFLEKSJON – En studie av en musikalsk interpretasjonsprosess av Harrison Birtwistles Deowa i relasjon til sju andre komposisjoner for kvinnestemme og klarinett Gjertrud Pedersen Avhandling for graden Ph.D. Norges musikkhøgskole, Oslo NMH-publikasjoner 2009:1 © Gjertrud Pedersen ISSN 0333-3760 ISBN 978-82-7853-056-6 Norges musikkhøgskole Postboks 5190 Majorstua N-0302 Oslo, Norge telefon: (+47) 23 36 70 00 telefaks: (+47) 23 36 70 01 e-post:nmh.no www.nmh.no Publisert i samarbeid med Unipub Trykk: Unipub AS, Oslo 2009 II Innhold Innhold .................................................................................................................................... III Oversikt over noteeksempler .............................................................................................. VIII Forord ....................................................................................................................................... 1 DEL 1: INTRODUKSJON ................................................................... 3 Del 1: Introduksjon ............................................................................................... 5 Fokus og forskningsspørsmål .................................................................................................. 6 Hva kan musikalsk interpretasjon innebære? ......................................................................... 7 Interpretasjon: Av musikken og av interpretasjonsprosessen ................................................. 8 Interpretasjon som fire aktiviteter: Utøving, lytting, lesing og forestilling ............................. 8 Forskning på egen utøvende virksomhet ............................................................................... 10 Sansbar kunnskap ................................................................................................................ 11 Forskning på, for og i kunst ................................................................................................. 13 Kvinnestemme og klarinett ..................................................................................16 Presentasjon av utvalgte musikkverk .................................................................................... 17 Kjerneverket Deowa ............................................................................................................ 18 Birtwistle: Ring a Dumb Carillon og Webern: Sanger op. 16 – 18 ....................................... 21 Dusapin: So full of shapes is fancy, Kruse: Peristyl og Grenager: Garden works ................. 22 Besetningen kvinnestemme og klarinett ................................................................................ 23 Klarinettyper og stemmetype ............................................................................................... 23 Refleksjoner om metode ......................................................................................26 Hermeneutisk perspektiv........................................................................................................ 27 Fortolkning, forklaring og forståelse .................................................................................... 28 Redegjørelse for valg av musikkverk .................................................................................... 29 Andre mulige valg ............................................................................................................... 31 Kort presentasjon av kilder .................................................................................................... 32 Tekstlige kilder ................................................................................................................... 33 Pålitelighet i tekstlige kilder om Birtwistle .......................................................................... 35 Lydkilder............................................................................................................................. 37 Andre kilder: E-poster, samtaler og egne notater ................................................................. 38 Gjennomføring av utøvende del ............................................................................................ 39 Egen erfaring med musikken i forkant av innstuderingen .................................................... 40 Presentasjon av medspillere og samarbeidspartnere ............................................................. 41 Presentasjon av de tre konsertene ........................................................................................ 42 Hvorfor egne lydopptak? ..................................................................................................... 46 Presentasjon av arbeidet med lydopptakene ......................................................................... 47 Refleksjoner i etterkant av opptak, lytting og redigering ...................................................... 51 Metode – i ettertid .................................................................................................................. 52 Avhandlingens oppbygning ................................................................................................... 54 III DEL 2: MØTET MED MUSIKKVERKET ......................................... 55 Del 2: Møtet med musikkverket ..........................................................................57 Noen møter noe ...................................................................................................................... 58 Kunstverkets tinglighet ........................................................................................................ 58 Musikkverk og realisering ................................................................................................... 59 Deowa: Forventninger og tidlige assosiasjoner .................................................................... 62 Overraskelsen Deowa .......................................................................................................... 63 Tidlige øvingsnotater ........................................................................................................... 64 …all that 'hocketing' ............................................................................................................ 66 Rød melodi .......................................................................................................................... 68 Birtwistles kunstneriske virke .............................................................................71 Inspirasjonskilder og kunstneriske intensjoner ..................................................................... 72 Ekskurs: Birtwistles bakgrunn ............................................................................................. 72 Messiaens Turangalîla-symfoni ........................................................................................... 74 Turangalîla og Deowa: Ikke-narrative klangblokker ........................................................... 76 The Mask of Orpheus ............................................................................................................. 77 Flertydig og flertidig ........................................................................................................... 79 Komposisjoner for klarinett(er) og sopran ............................................................................ 81 Birtwistle og Weberns musikk for stemme og klarinett........................................................ 82 Karakter og klangideal ........................................................................................85 Interpretasjon av Deowa ........................................................................................................ 88 Felles musikalske referansepunkter ..................................................................................... 89 Samklanger: Deowa i relasjon til de øvrige verkene ............................................................ 89 Et teoretisk perspektiv ....................................................................................... 100 Musikkverkets ontologi og utøverperspektivet ................................................................... 100 Musikkopplevelse og mening ............................................................................................ 101 Kunsterfaring og interpretens rolle .................................................................................... 107 Innøving og verkforståelse ................................................................................................ 109 Verkforståelse, kontekst og ytring ..................................................................................... 112 Interpretasjon og utøverens perspektiv ................................................................................ 115 Hva kjennetegner utøvererfaring? ...................................................................................... 115 Musikalsk interpretasjon og komponistens intensjoner ...................................................... 117 Fordommer, utkast og revideringer av fortolkningsutkast .................................................. 121 Kritiske bemerkninger til det hermeneutiske perspektivet .................................................. 123 Møte med Deowa – i ettertidsperspektiv ............................................................................. 125 DEL 3: TEKSTFORSTÅELSE ........................................................ 127 Del 3: Tekstforståelse ........................................................................................
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