Interpretiing Rachmaninoff's Variations on a Theme of Corelli, Op.42
by Employing Interpretivism as Used by Denzin and Lincoln
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There is wide latitude as to how Rachmaninoff s works are interpreted. The problem here deals with interpretation based on an intuitive level rather than a systematic approach in identifying stylistic idiom from the basis of the composer s unique writing style. Consequently, this study examines Rachmaninoff s Corelli Variations and its performance problems while addressing fundamental research question at hand: in matters of ontology and epistemology, is there a singular interpretation that is privileged over another? Expressly, how do criteria for legitimacy come into play when music interpre...
There is wide latitude as to how Rachmaninoff s works are interpreted. The problem here deals with interpretation based on an intuitive level rather than a systematic approach in identifying stylistic idiom from the basis of the composer s unique writing style. Consequently, this study examines Rachmaninoff s Corelli Variations and its performance problems while addressing fundamental research question at hand: in matters of ontology and epistemology, is there a singular interpretation that is privileged over another? Expressly, how do criteria for legitimacy come into play when music interpretation is informed, not just by written notation but also by an aural tradition supported by an aesthetic sensibility? And if so, what are the guiding principles that make an interpretation authentic? By incorporating interpretivism, a philosophical framework that values multiple reality, subjectivity, and stability, this investigation employs a new research paradigm in music while providingsound solutions. This research should be useful to pianists, fans of Rachmaninoff s work and anyone who may be interested in the tradition of music interpretation.
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