By way of a critical reading of the musico-philosophical discussion of the ontology of the musical work and by way of a deconstruction of the concept of musical interpretation I propose a model in which the identity of the musical work is analysed as the result of interaction between multiple agents: composer, performer, instrument, score and electronics, among others. "‘SHUT UP ’N’ PLAY! Negotiating the Musical Work’ is a piece of artistic research that attempts to merge artistic practice, qualitative research methods and critical analysis in a project concerned with contemporary performance practices, and specifically how these practices are created and transmitted in the interaction between composer and performer.
Using this performer-centred form of description, I propose a taxonomical framework for the analysis of these scores. I find that happy performances can be completely at variance with the original intention of the score, whilst more observant performances are relatively unhappy. Austin’s performative utterances, especially the categorization of an utterance as ‘happy’ or ‘unhappy’, to determine how a graphic or text score realization is happy or unhappy. I employ Peircean ‘active’ semiotics and J. Traditional score-centred description (such as that of Nattiez) only takes in a fraction of what emerges in performance, so text and graphic score analysis must take performances into account. This chapter addresses the active role that interpretation plays in graphic and text notation. Taking the act of notation as a prominent part of musical creation and performance, the authors supply both conceptual and practical approaches to the relationship of sound to score. The volume is part of a series on artistic research published under the auspices of the Orpheus Institute, of Ghent, Belgium.
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