Interpretation

Summary

Dominique Pagani uses the term in two distinct registers. For texts, he sets interpretation against analysis: interpretation projects the values of the dominant ideology onto the text, it "takes the echo for the voice" and impoverishes the heritage1. Faced with a poem by Hölderlin, he therefore declines to elucidate or interpret it and chooses to analyse it as closely as possible to the letter2. In music, on the other hand, he gives the word a positive meaning. The performer stands between the composer and the listener. This presupposes a written text and a composer external to the performer3, as well as a restitution and an identification with the subjectivity of both4. Putting the listener in direct relation with the composer is, in his view, almost hermeneutics, in the figure of Hermes who makes the link5. Speaking of Wagner's performers, he also addresses the recording medium: sound recording conveys the performer's tempo and dynamics, even on an old recording6. He further contrasts the studio, where one can cut, with live performance, which forces the performer to give everything, as in jazz improvisation7.

1. 1#11 • Retour aux logiques du sujet21 Jun 2020 · 37:16
2. 2Racines ou migration ? De la rêverie analytique à l'actualité, de Hölderlin à la guerre17 Feb 2023 · 19:53
3. 3Musicosophie 17. L'interprétation25 Mar 2021 · 3:50
4. 4Musicosophie 17. L'interprétation25 Mar 2021 · 5:00
5. 5Musicosophie 17. L'interprétation25 Mar 2021 · 1:21:49
6. 6Wagner et ses interprètes, L'accès à Clouscard, Marx = Thésée? • Q&A Philosophique • Pagani31 Mar 2021 · 13:45
7. 7Wagner et ses interprètes, L'accès à Clouscard, Marx = Thésée? • Q&A Philosophique • Pagani31 Mar 2021 · 32:27

Summary produced automatically from 7 of the passages below, to be reviewed; the numbers link to the moment in the session.