Rethinking the “Open Works” from Music Performance: An interpretation beyond reproduction

Abstract

The aim of this article is to problematize some definitions of music performance that have predominated in musicology prior to the performative turn, proposing a perspective focused on its active role in the processes of artistic creation. We will propose two meanings that will support the idea of work and music performance on which to work. The first one will be the notion of Open Work by Umberto Eco (1962) which will be used, contrasted and expanded to conjecture and delimit what refers to art work/musical work in this paper. Consequently, for the discussion about music performance, we will mainly use the Paradigm of Reproduction developed by Nicholas Cook (2014). Both concepts will be put into dialogue to solve the question: Music performance: creation or reproduction?. The suggested path leads to reflections that force us to think about performance from its scenic and phenomenological dimension, as well as to value the role of the performer, along with the diversity of artistic formats, and in this way commit the practice of music performance to musical creation.