Abstract

Musical Analysis is an intermediate discipline between Theory of Musical Composition and Aesthetics. It enables us to trace compositional processes and to acquire sufficient information for a well substantiated aesthetic evaluation. Musical Interpretation is already in itself a form of Musical Analysis, just as the latter does not exclude a preliminary interpretation of the examined work. These issues assume a particular importance and utility in contemporary music, whose complexity often conceals the broad musical sense. By analyzing Berio's Lied and Donatoni's Lumen, we intend to offer two examples that would allow us to derive hypotheses of interpretation. By the examination of the main composition techniques we manage to delineate the overall form and its relationship with the articulation of the musical parameters. Thus, Lied and Lumen reveal a well structured formal course, both narratively and teleologically, on the basis of which, on the one hand, the performer will be able to choose a coherent interpretation, conscious of the formal relations even over large surfaces, while, on the other hand, the hermeneutician will be able to use the same data to formulate a better founded interpretation of the significance of the work.

Keywords: Berio, Donatoni, composition techniques, form, figures

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