McClary’s position, concerning the process by which music is gendere

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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

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