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  3. 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  20
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
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