DIFFERENCES BETWEEN PERFORMANCE AND INTERPRETATION IN MUSIC RESEARCH: USING STUDIES IN COGNITION AND MOTOR CONTROL TO CLARIFY THE DEBATE

Abstract

Studies on musical practice are composed of a multiplicity of perspectives to be analyzed.
Research on harmony, metrics, advanced techniques, phrasing, phrasing applied to certain
styles and/or periods, applied musicology, among others, composes just a few of this vast
field. . However, in the face of such diverse possibilities, there is the challenge of properly
classifying the terms “performance” and/or “interpretation” for each type of study chosen.
Thus, the general objective of this work is to understand what is the most appropriate way to
use the terms “performance/performer” in research on musical practice, using as a guide
studies on cognition and motor control and, tracing in parallel, their divergences with the
terms “interpretation/interpreter”.To achieve the proposed objective, it was necessary to
respond to the following specific objectives: which characteristics and processes best define
the term performance? What are the main differences between performance and
interpretation? For this, this study used a qualitative, exploratory and descriptive approach,
having as a method, the bibliographic research in a database of articles, theses and
dissertations.The results achieved what was proposed, showing a direction in search of
understanding about the characterization of the terms “performance” and “interpretation”,
helping future works on musical practices to better define their use in each situation.