首页
登录
职称英语
McClary’s position, concerning the process by which music is gendere
McClary’s position, concerning the process by which music is gendere
游客
2025-02-22
26
管理
问题
McClary’s position, concerning the process by which music is gendered as
masculine or feminine, is that socially-grounded codes are "composed into" the
music, that they are immanent to the text, there to be discovered. McClary has
Line traced narratives of power and sexual differences in sonata forms by mapping
(5) the gendered terms in which theorists have described them onto pieces which
variously appear to enact or resist such constructions.
Rieger has likewise traced the inchoate differentiation of musical affects by
gendered characters in late-eighteenth-century opera, and charted their much
heightened divergence in contemporary film music. Both of these approaches
(10) share a common assumption of a degree of awareness of such gendered codes at
the point of composition, an awareness which, if not fully reflective, at least
shows a composer’s "practical consciousness" of how musical expression works
within his or her culture. This conception permits music to participate fully in
cultural processes, thereby allowing us to bring cultural contexts to bear in our
(15) explanatory models of musical styles and forms, but its critics rightly argue that
it carries an extreme risk: it is all too easy for this approach to re-inscribe the
values it would aim to critique. We may accuse McClary of adopting the very
stereotypes she deplores, and similarly we may regard her identification of
musical difference with cultural difference to be an over interpretation, though
(20) unless we limit our focus to some extreme of the avant-garde, we must concede
that some kind of contrast between masculinity and femininity will always exist
in any music.
It is perhaps best to argue the possibility that such gender metaphors are
merely functions of our interpretational frameworks, imposed on music from the
(25) outside. Treitler describes the way in which scholars from the eighteenth to the
twentieth centuries have differentiated between Old Roman and Gregorian chant
repertories in gendered terms, and argues that these metaphors relate entirely
to a project of Western cultural supremacy, and not to any immanent musical
characteristics of the actual chants. We may make the same point about all
(30) repertories: gender is encoded not in the music, but in the critical language we
use, much like Pigmalion’s chisel, to bring the music to life. While this
position is weaker than McClary’s in an explanatory capacity-it cannot use
social values to account for why a piece was written the way it was rather than
any other, aesthetically speaking-its value is ultimately greater in that it
(35) allows us to develop fresh listening strategies which invest familiar and well-
loved music with new and arguably more positive values. Hence, it is more
attractive for the development of a politically responsible critical strategy,
though even in this respect, the position is not without shortcomings, most of
which become apparent when we examine the relationship between musical
(40) material and cultural meaning. [br] The author regards the idea that gendering stems from a composer’s "practical consciousness" of how musical expression works with
选项
A、serious caution
B、strong indignation
C、marked indifference
D、moderate amusement
E、sharp derision
答案
A
解析
转载请注明原文地址:http://tihaiku.com/zcyy/3968455.html
相关试题推荐
McClary’sposition,concerningtheprocessbywhichmusicisgendere
McClary’sposition,concerningtheprocessbywhichmusicisgendere
McClary’sposition,concerningtheprocessbywhichmusicisgendere
McClary’sposition,concerningtheprocessbywhichmusicisgendere
McClary’sposition,concerningtheprocessbywhichmusicisgendere
OBSTINACY:A、articulatenessB、impartialityC、obedienceD、generosityE、opposition
African-Americanfilmmakersshouldbeinanenviableposition,fors
African-Americanfilmmakersshouldbeinanenviableposition,fors
African-Americanfilmmakersshouldbeinanenviableposition,fors
Homeostasisreferstoanyprocess,suchasnegativefeedback,thatli
随机试题
Theprogram______intothecomputermustbepreparedinaspeciallydesignedma
OfalltheemployedworkersintheUnitedStates,12.5millionarepartofa
I_______quitestronglythatshewasangrywithme.A、smeltB、heardC、sensedD、to
[originaltext]TwoUSMarinehelicoptershavebumpedneartheHawaiianislan
机械搅拌澄清池设计水力停留时间1.2~1.5h,清水区上升流速0.8~1.0mm
吕德的雕塑作品《马赛曲》表现了历史上的()。A.法国大革命 B.法国七月革命
各种运输方式内外部的各个方面的构成和联系,就是( )。 A.运输系统
幼儿想象具有再造性,是从()来说的。A.想象发生 B.想象过程 C.想象目
下列表述不属于商业银行操作风险的是()。A.银行借贷人员与贷款企业勾结骗取银行
根据生产技术和施工组织条件,对施工过程中各工序的工时消耗等资料进行测定,再对所获
最新回复
(
0
)