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
2024-01-11
61
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 considers the metaphors of masculinity and femininity we associate with certain pieces of music to be
选项
A、external to the music, imposed in most cases by the interpretational criteria of critics and listeners
B、interesting but unnecessary for the enjoyment of these pieces of music by most listeners
C、evidence that socially-grounded codes are composed into music, and not simply the product of interpretation
D、a means by which familiar and well-loved music can be invested with new and arguably more positive values
E、evidence for a fundamental difference between the music of the avant-garde and more traditional varieties
答案
A
解析
转载请注明原文地址:https://tihaiku.com/zcyy/3353889.html
相关试题推荐
Thereare35applicantsapplyingfortheposition.20ofthemhaveexperience,1
Homeostasisreferstoanyprocess,suchasnegativefeedback,thatlivin
Ancientpeoplefeltmuch______concerningthenotionthattheappearanceofcom
McClary’sposition,concerningtheprocessbywhichmusicisgendereda
A、Rejection,onthegroundsofGibson’sunqualifiedpessimismconcerningtheuse
RESCIND:STATUTE::A、propel:processB、revoke:willC、manifest:agreementD、reitera
Scientistshaveacknowledgedthattointerpretananimal’sthoughtprocessesin
OBSTINACY:A、articulatenessB、impartialityC、obedienceD、generosityE、opposition
ROLE:UNDERSTUDY::A、chairman:generalB、lawyer:magistrateC、position:benchwarmer
McClary’sposition,concerningtheprocessbywhichmusicisgendere
随机试题
"Piaget’sCognitiveDevelopmentTheory"ThefamousSwisspsychol
Thefirstpre-electionpoll,orstrawvote,asitwasthencalled,wasconduc
[originaltext]Acommonchallengeformanyteachersiskeepingtheirstudent
最主要的法定社会保险包括()A.养老保险 B.意外保险 C.失业保
经过安全性审查后,公司决定,投标准备部门的所有员工应该访问通用数据,例如当前成本
岩质边坡发生平面滑动破坏时,滑动面倾向与边坡面的倾向必须一致,并且两侧存在走向与
A.五步蛇B.小刀螂C.大刀螂D.银环蛇E.巨斧螳螂药材蕲蛇原动物是
根据《中华人民共和国教师法》的相关规定,社会力量所办学校教师的待遇()。
政府债券的特征不包括()。A:安全性高 B:流通性强 C:风险性高 D:免
从结构层次的角质看,电子商务系统包括( )。A.产业链层 B.网络层 C.
最新回复
(
0
)