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
8
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 passage supplies information for answering all of the following questions EXCEPT
选项
A、Has the theory of musical codes inherent to musical composition allowed us to incorporate cultural contexts in criticism?
B、Does the notion that gender metaphors are functions of interpretational frameworks carry any shortcomings?
C、Does McClary’s theory of the immanence of gender in musical codes carry any sort of risk?
D、What are the substantive differences between the ways that Roman and Gregorian musical chants employ gender codes?
E、In which musical forms, besides late-nineteenth-century-opera, has gender difference in musical codes been observed?
答案
D
解析
转载请注明原文地址:https://tihaiku.com/zcyy/3968454.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
RESCIND:STATUTE::A、propel:processB、revoke:willC、manifest:agreementD、re
Homeostasisreferstoanyprocess,suchasnegativefeedback,thatli
随机试题
Inthe1980s,homeschoolingmadeacomebackintheU.S.whenreligiouslycon
[originaltext]M:Ah,howdoyoudo,Ms.Winzmore?W:Howdoyoudo?M:Dositd
搜索引掌营销的最终目的是()。A.在搜索结果中排名靠前 B.被搜索引擎收录
(2016年)下列关于无形资产摊销会计处理的表述中,正确的有( )。A.企业内
下列药品中,属于药品类易制毒化学品的兴奋剂是()A:芬太尼 B:可待因 C
患儿,男,3岁,发现上乳中切牙唇龈反复脓肿2周,无疼痛。检查右上中切牙完整,变色
老年女性。不慎摔倒,左髋部着地,当即左髋剧痛,不能站立,急诊来院。检査见左下肢
教育学作为一门独立形态的学科,形成于()。 A.资本主义社会初期 B.封建社
脓肿切开引流中操作错误的是A.在波动明显处切口,并达最低位置 B.切口一般与皮
(2018年真题)因不可抗力造成的下列损失,应由承包人承担的是()。A.工
最新回复
(
0
)