Briefly stated, the narratological analysis of music adapts the theoretical tools of literary narrative theory as a means of investigating music that can be conceived as narrative in conception and/or reception. Of the various hermeneutic approaches to the study of music developed in the last half century or so, narratological analysis has gone further than many in navigating a path that draws on both cultural and structural contexts. Often defined in opposition to structuralism—the focus of which is on formal (or “purely musical”) relationships within works and styles—hermeneutics is concerned with the “meaning” of musical elements. Despite the apparent dichotomy, musical narratology and semiotics (the study of musical sign-systems) are frequently concerned with the manner in which meaning can be understood to arise from structural properties, and it is scholars working at the intersection of hermeneutics and structuralism who have produced many of the more striking accounts of music in recent years. Although the application of what might be broadly termed “narrative thinking” to the analysis of music can be seen to date as far back as the composer-theorist Jérôme-Joseph de Momigny in the early 1800s (see Le Huray 1990, 113–122; Almén 2008, 16–23), the modern investigation of music and narrative theory stems from scholars of the 1980s and 1990s. This generation is defined by Nicholas Reyland (2005, 139) as the first of two “waves” of musical-narratological engagement, “soon followed by the work of a second wave of scholars less persuaded of music’s narrative propensities.” To Reyland’s two we can add a recent “third wave” of scholars, who have sought to steer narrative approaches in new directions; this includes the consideration of post-tonal music, previously beyond the scope of narrative analysis. In the following review of musical applications of narrative theory, these three waves will be considered in turn, concentrating on the particular coordination of structural and hermeneutic approaches that has long been the focus of narrative analysis, before looking at the broader repertories to which contemporary narratology has turned.
简而言之，音乐的叙事学分析采用了文学叙事理论的理论工具，作为研究音乐的一种手段，可以在概念和/或接受上被视为叙事。在过去半个世纪左右发展起来的音乐研究的各种解释学方法中，叙事学分析在利用文化和结构背景的道路上走得比许多人更远。诠释学通常被定义为与结构主义相反——结构主义的重点是作品和风格中的形式(或“纯音乐”)关系——诠释学关注的是音乐元素的“意义”。尽管存在明显的二分法，音乐叙事学和符号学(对音乐符号系统的研究)经常关注从结构特性中理解意义的方式，近年来，阐释学和结构主义交叉研究的学者们产生了许多更引人注目的音乐描述。尽管可以被广泛称为“叙事思维”的应用于音乐分析可以追溯到19世纪初的作曲家兼理论家Jérôme-Joseph de Momigny(见Le Huray 1990, 113-122;现代音乐与叙事理论的研究源于20世纪80年代和90年代的学者。Nicholas Reyland(2005, 139)将这一代人定义为音乐叙事学参与的两波“浪潮”中的第一波，“紧接着是第二波学者的工作，他们不太相信音乐的叙事倾向。”除了Reyland的两位，我们还可以加上最近的“第三波”学者，他们试图将叙事方法引向新的方向;这包括对后调性音乐的考虑，之前超出了叙事分析的范围。在以下对叙事理论的音乐应用的回顾中，将依次考虑这三种浪潮，重点关注长期以来一直是叙事分析重点的结构和解释学方法的特殊协调，然后再研究当代叙事学转向的更广泛的剧目。
{"title":"Telling Tales: A Survey of Narratological Approaches to Music","authors":"Russell Millard","doi":"10.7916/D8-AHAN-J888","DOIUrl":"https://doi.org/10.7916/D8-AHAN-J888","url":null,"abstract":"Briefly stated, the narratological analysis of music adapts the theoretical tools of literary narrative theory as a means of investigating music that can be conceived as narrative in conception and/or reception. Of the various hermeneutic approaches to the study of music developed in the last half century or so, narratological analysis has gone further than many in navigating a path that draws on both cultural and structural contexts. Often defined in opposition to structuralism—the focus of which is on formal (or “purely musical”) relationships within works and styles—hermeneutics is concerned with the “meaning” of musical elements. Despite the apparent dichotomy, musical narratology and semiotics (the study of musical sign-systems) are frequently concerned with the manner in which meaning can be understood to arise from structural properties, and it is scholars working at the intersection of hermeneutics and structuralism who have produced many of the more striking accounts of music in recent years. Although the application of what might be broadly termed “narrative thinking” to the analysis of music can be seen to date as far back as the composer-theorist Jérôme-Joseph de Momigny in the early 1800s (see Le Huray 1990, 113–122; Almén 2008, 16–23), the modern investigation of music and narrative theory stems from scholars of the 1980s and 1990s. This generation is defined by Nicholas Reyland (2005, 139) as the first of two “waves” of musical-narratological engagement, “soon followed by the work of a second wave of scholars less persuaded of music’s narrative propensities.” To Reyland’s two we can add a recent “third wave” of scholars, who have sought to steer narrative approaches in new directions; this includes the consideration of post-tonal music, previously beyond the scope of narrative analysis. In the following review of musical applications of narrative theory, these three waves will be considered in turn, concentrating on the particular coordination of structural and hermeneutic approaches that has long been the focus of narrative analysis, before looking at the broader repertories to which contemporary narratology has turned.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"103 1","pages":"5-44"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71365692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Coups that Silence Ezan -s to Ezan -s that Silence Coups!: Sonic Resistance to the 2016 Turkish Military Coup","authors":"E. Koymen","doi":"10.7916/D86416NN","DOIUrl":"https://doi.org/10.7916/D86416NN","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"99-124"},"PeriodicalIF":0.0,"publicationDate":"2017-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48357746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a May 1922 issue of The New York Herald, David Sarnoff, then director of the Radio Corporation of America, elicited shocked responses from readers when he predicted the eventual widespread use of commercial radios in a range of seemingly unlikely devices. “It is reasonable,” Sarnoff argued, “to expect [radio’s] eventual application to automobiles, trains, and in some cases, to individuals” (1922, 1). It was a bold statement, not only because of the relative newness of commercial car ownership, but also because America had not yet happened upon the golden age of radio. At the time of Sarnoff ’s declaration, radio was just beginning to make a place for itself in the homes of the American public, battling poor operating quality and problems with mass production. But in spite of the widespread skepticism levied toward Sarnoff ’s ideas, radios were introduced into automobiles by the end of the very same year. The first car radio, an option in the 1922 Chevrolet, was the Westinghouse Radio Sedan, a “$200 extravagance” with an antenna that covered the car’s entire roof, huge horn speakers, and batteries that filled the space under the front seat (Fisher 2007, 67). Describing these first years, broadcaster Frank A. Seitz vividly highlighted the pitfalls associated with the early models he himself was confronted with in 1931:
{"title":"As Time Goes By: Car Radio and the Travel Experience in Twentieth-Century America","authors":"Sarah Messbauer","doi":"10.7916/D87387VC","DOIUrl":"https://doi.org/10.7916/D87387VC","url":null,"abstract":"In a May 1922 issue of The New York Herald, David Sarnoff, then director of the Radio Corporation of America, elicited shocked responses from readers when he predicted the eventual widespread use of commercial radios in a range of seemingly unlikely devices. “It is reasonable,” Sarnoff argued, “to expect [radio’s] eventual application to automobiles, trains, and in some cases, to individuals” (1922, 1). It was a bold statement, not only because of the relative newness of commercial car ownership, but also because America had not yet happened upon the golden age of radio. At the time of Sarnoff ’s declaration, radio was just beginning to make a place for itself in the homes of the American public, battling poor operating quality and problems with mass production. But in spite of the widespread skepticism levied toward Sarnoff ’s ideas, radios were introduced into automobiles by the end of the very same year. The first car radio, an option in the 1922 Chevrolet, was the Westinghouse Radio Sedan, a “$200 extravagance” with an antenna that covered the car’s entire roof, huge horn speakers, and batteries that filled the space under the front seat (Fisher 2007, 67). Describing these first years, broadcaster Frank A. Seitz vividly highlighted the pitfalls associated with the early models he himself was confronted with in 1931:","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"7-23"},"PeriodicalIF":0.0,"publicationDate":"2017-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45772427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cosmopolitanism and Race in Percy Grainger’s American “Delius Campaign”","authors":"Sarah Kirby","doi":"10.7916/D8ZK70KV","DOIUrl":"https://doi.org/10.7916/D8ZK70KV","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"25-52"},"PeriodicalIF":0.0,"publicationDate":"2017-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45245336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recorded music long ago relieved us of the hard labor of performing what we wanted to hear. It relieved us of the necessity of going to a concert hall. And now it has even relieved us of any need to listen. In the sound tracking of America-in the constantly segueing fragments that fill our public and private spaces-music is merely the inescapable background, the relentless mood-setter, the arbiter and signal of proper behavior. -J. Bottum
{"title":"Music Analysis and the Social Life of Jazz Recordings","authors":"M. Butterfield","doi":"10.7916/D8T72G47","DOIUrl":"https://doi.org/10.7916/D8T72G47","url":null,"abstract":"Recorded music long ago relieved us of the hard labor of performing what we wanted to hear. It relieved us of the necessity of going to a concert hall. And now it has even relieved us of any need to listen. In the sound tracking of America-in the constantly segueing fragments that fill our public and private spaces-music is merely the inescapable background, the relentless mood-setter, the arbiter and signal of proper behavior. -J. Bottum","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":"324-352"},"PeriodicalIF":0.0,"publicationDate":"2017-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41622716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oakland: University of California Press","authors":"Tracy M McMullen","doi":"10.7916/D80K3SGT","DOIUrl":"https://doi.org/10.7916/D80K3SGT","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":"141-152"},"PeriodicalIF":0.0,"publicationDate":"2017-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41450886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Christine Sun Kim, a film by Todd Selby, we follow the performance artist from her apartment to a busy street corner in New York’s Chinatown where she records a soundscape, jots down some notes and ruminates on the project to which the film gives us a behind-the-scenes view.1 Cut to a scene of loud rustling and various shimmering and colorfully dusty materials dancing on a speaker cone as Kim blows into a microphone dialed up to full volume. The spectator watches and listens from the sidelines of her studio as Kim experiments with the audio recordings she (presumably) made earlier, channeling them to numerous speakers that have various materials taped to or placed on their cones, vibrating wildly, animating sound anew. As Amanda L. Cachia has written in an exhibition catalog including Kim’s work,
在Todd Selby的电影《Christine Sun Kim》中，我们跟随这位行为艺术家从她的公寓来到纽约唐人街一个繁忙的街角，她在那里录制了一段音景，记下一些笔记，思考这部电影为我们提供了一个幕后视角的项目。1切换到一个场景，当金对着调高到最大音量的麦克风吹气时，巨大的沙沙声和各种闪闪发光、布满色彩的灰尘的材料在扬声器锥上跳舞。观众在工作室的场边观看和聆听金对她（可能）早些时候制作的录音进行的实验，将这些录音引导到许多扬声器上，这些扬声器将各种材料粘在或放在圆锥体上，剧烈振动，使声音重新活跃起来。正如Amanda L.Cachia在包括金作品在内的展览目录中所写的那样，
{"title":"Toward A Rupture in the Sensus Communis: On Sound Studies and the Politics of Knowledge Production","authors":"Roshanak Kheshti","doi":"10.7916/D8Q82X1P","DOIUrl":"https://doi.org/10.7916/D8Q82X1P","url":null,"abstract":"In Christine Sun Kim, a film by Todd Selby, we follow the performance artist from her apartment to a busy street corner in New York’s Chinatown where she records a soundscape, jots down some notes and ruminates on the project to which the film gives us a behind-the-scenes view.1 Cut to a scene of loud rustling and various shimmering and colorfully dusty materials dancing on a speaker cone as Kim blows into a microphone dialed up to full volume. The spectator watches and listens from the sidelines of her studio as Kim experiments with the audio recordings she (presumably) made earlier, channeling them to numerous speakers that have various materials taped to or placed on their cones, vibrating wildly, animating sound anew. As Amanda L. Cachia has written in an exhibition catalog including Kim’s work,","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":"7-20"},"PeriodicalIF":0.0,"publicationDate":"2017-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49089636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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