2. 外语
  3. McClary’s position, concerning the process by which music is gendered as masculine or feminine, is that socially-grounded c

McClary’s position, concerning the process by which music is gendered as masculine or feminine, is that socially-grounded c

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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
     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 overinterpretation, 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.
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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