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In music, interpretation refers to the understanding of a musical work. This aspect of music arises from the inherent need to reconcile the differences between notation, which preserves a written record of the music, and performance, which brings the musical experience into renewed existence. Many times interpretation has also been used to codify performance practice and to signify the way in which notation should be interpreted as in books by Arnold Dolmetsch, Robert Donington, and Thurston Dart. The idea of interpretation begins, according to the Oxford English Dictionary, as “the rendering of a musical composition, according to one's conception of the author's idea.” Musical interpretation, however, extends far beyond the interpreter's conception of the composer's ideas and, instead, conveys the interpreter's own ideas about the music, embodying understandings of what can be considered latent in the score as well as his own view concerning the chief strategy for exposing the audience to that idea during performance.

Early History

Although interpretation has become more important in recent years as a result of the use of comparison through recordings, the practice of proscribed stylistic elements by the composer goes back to the late Middle Ages and early Renaissance periods with treatises on the Ars nova by Johannes de Muris (ca. 1290–ca. 1355), Guilio Caccini's Le Nuove Musiche (1601), and Opinioni de’ Cantori Antichi, e Moderni o Scieno Osservazioni Sopra il Canto Figurato (Bologna, 1723) by Pier Francesco Tosi. It is during this time that musicians began to view themselves as creators, with their art as a creative activity and no longer as a mere imitation of given models. This distinguished them from their cohorts in all previous centuries. During the Middle Ages, the prevailing view was that nothing new could be created. In the Renaissance, the creative artist formed the individual artwork and shaped his time.

The theorists Franchino Gafori, Johannes Tinctoris, and Gioseffo Zarlino were considered radicals in their time, but exerted great influence on musical works through their ideas about a systematic theory of composition and, by extension, a direct link to the interpretation in performance of musical works. Tinctoris likely is the first theorist and writer to recognize music as an autonomous art and could consider it through the lens of a historian. In the introduction to his 1477 treatise on counterpoint, Tinctoris stated, “Although it seems beyond belief, there does not exist a single piece of music, not composed within the last forty years, that is regarded by the learned as worth hearing.” From his experience he formulated the principles defining the “new music” and its interpretation in this treatise, identifying John Dunstable, Guillaume Dufay, and Gilles Binchois as the founders of new musical style and Johannes Ockeghem and Antoine Busnois as disciples of the tradition.

The Fifteenth Century Through the Romantic Era

The 15th century witnessed the last great flowering of older musical techniques based on preformed patterns and formal outlines such as cantus firmi, forms fixes, and isorhythm. Some of these practices underwent significant transformations, suggesting that composers were beginning to consider themselves creative artists and not simply servants of the church. Likewise, composers emancipated themselves from many predetermined strictures, creating a more flexible and musically self-sufficient technique of organizing form by use of thematic manipulation and points of imitation. The imitative polyphony of the 16th century was both enriched and determined by the new idea that music should reflect the text it set, and marks the influence of humanist doctrine. As such, music became a self-sufficient, self-generated, absolute art. Freedom from medieval authority, interest in text expression, the rise of instrumental music, and the development of tonality resulted in music that became a more personal and expressive art form with man at its core.

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