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 c
McClary’s position, concerning the process by which music is gendered as masculine or feminine, is that socially-grounded c
admin
2009-05-19
58
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
转载请注明原文地址:https://kaotiyun.com/show/YdkO777K
本试题收录于:
GRE VERBAL题库GRE分类
0
GRE VERBAL
GRE
相关试题推荐
Morethan30,000driversandfrontseatpassengersarekilledorseriouslyinjuredeachyear.Atthespeedofonly30milesper
Alltheusefulenergyatthesurfaceoftheearthcomesfromtheactivityofthesun.Thesunheatsandfeedscreaturesandmank
Let’sfinishourhomeworkinafewseconds;it’stimewe______.
Itiseasiertonegotiateinitialsalaryrequirementbecauseonceyouareinside,theorganizationalconstraints(约束)influencew
Whichofthefollowingdescribesthesetofallpossiblevaluesofthepositiveintegerksuchthat,foreachpositiveoddintege
ESTRANGEMENT:
TENDENTIOUS:
BANALITY:
ADULATION:
Itwouldhavebeendisingenuousofthecandidatetoappear______whenheropponentwontheelection,butshecongratulatedthevi
随机试题
设备的有形磨损会影响设备的()。
在DWDM系统中,光交叉连接设备只有()交换开关。
传播学从新闻学演变过来的过程可以标示为新闻学→______→传播学。
________,是指专业或业余舞蹈家通过艺术创作在舞台上表演的艺术作品。
压缩时以塑性变形为主的物料,具有良好的压缩成型性。()
关于IL-2的生物学效应,错误的是
邻近铁路营业线施工前,施工单位必须与铁路各设备管理单位签订()协议。
中断发生以后,应保留()。
ForanyEnglishman,therecanneverbeanydiscussionastowhoistheworld’sgreatestdramatist.Onlyonenamecanpossiblysu
Completethenotesbelow.WriteNOMORETHANTHREEWORDSforeachanswer.GIVINGASPEECHReasonsfornervousnessLecturers
最新回复
(
0
)