首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
McClary’s position, concerning the process by which music is gendered as masculine or feminine, is that socially-grounded
McClary’s position, concerning the process by which music is gendered as masculine or feminine, is that socially-grounded
admin
2011-01-17
59
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.
The passage states that Old Roman and Gregorian chant repertories are
选项
A、less praiseworthy because of the absence of new listening strategies that allows listener to perceive their original context
B、evidence of the musical supremacy of Western musical culture in virtue of their interesting use of gender metaphors
C、wholly devoid of immanent musical characteristics, including but not limited to gender
D、usually given interpretations that reveal more about the mindset of musical critics throughout history than the compositions themselves
E、incapable of being explained, aesthetically speaking, by any form of musical criticism
答案
D
解析
转载请注明原文地址:https://kaotiyun.com/show/L6jO777K
本试题收录于:
GRE VERBAL题库GRE分类
0
GRE VERBAL
GRE
相关试题推荐
ResearchersinBritainaretellingschoolsthatchildrenshouldbedoingmorelearningoutdoors.Theresearcherssaythereiscu
ResearchersinBritainaretellingschoolsthatchildrenshouldbedoingmorelearningoutdoors.Theresearcherssaythereiscu
Youfeelhappiestwhenyoucreateahealthybalancebetweengivingandreceiving.Ifyougiveandgivewithoutmakingtimetofi
Forthispart,youareallowed30minutestowriteacompositiononthetopic"MetropolisorSmallTown?"Youshouldwriteinn
Hetookthemedicine,butitdidn’thaveany______.
Somepsychologistsmaintainthatmentalactssuchasthinkingarenotperformedinthebrainalone,butthatone’smusclesalso
Seekingacompetitiveadvantage,someprofessionalservicefirms(forexample,firmsprovidingadvertising,accounting,orhealth
61.Psychologiststodayrecognizechildhoodasaseparatestageoflifewhichcanonlybeunderstoodinitsownterms,andthey
SHREWD:ACUMEN::
Accordingtotheprevailingview,Homoerectus,anancestorofHomosapiens,lackedtheintellectualandtechnologicalsophistic
随机试题
关于预告登记,以下说法正确的是:()
如何理解实践在认识中的决定作用?
关于呼吸功的描述,下列错误的是
四环素牙的发病机制,错误的是
2009年1月,甲、乙、丙、丁、戊共同投资设立鑫荣新材料有限公司(以下简称鑫荣公司),从事保温隔热高新建材的研发与生产。该公司注册资本2000万元,各股东认缴的出资比例分别为44%、32%、13%、6%、5%。其中,丙将其对大都房地产开发有限公司所持股权折
甲的下列哪些行为成立帮助毁灭证据罪(不考虑情节)?(2014年卷二第61题)
CM模式即建设一管理模式,适用于()。
“其身正不令而行,其身不正虽令不从”这句话体现的德育方法是()。
某厂有甲、乙、丙、丁、戊五种产品,它们的年销售额之间的关系为:丙没有丁高,甲没有乙高,戊高于丁,而乙不如丙高。请问:哪种产品的年销售额最高?
2009年9月15日,武汉市深化医药卫生体制改革工作会议召开,具有武汉本土特色的医改方案正式出台,并同步推出全国首个普通市民看得懂的“市民版”方案。“市民版”方案中所提炼的“要让市民平时少得病,得病有保障,看病更方便,治病少花钱”四项承诺,是武汉此次医改的
最新回复
(
0
)