音乐理论的白人种族框架

IF 1.6 1区 艺术学 0 MUSIC MUSIC THEORY SPECTRUM Pub Date : 2021-03-11 DOI:10.1093/MTS/MTAA031
Philip A. Ewell
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引用次数: 22

摘要

二十多年来,音乐理论一直试图在种族方面多样化,但今天这个领域仍然明显是白人,不仅在实践音乐理论的人中,而且在音乐理论工作的作曲家和理论家的种族中也是如此。在本文中,我将提供一些解释。我假设一个音乐理论的“白人种族框架”是结构性的和制度化的,并认为只有通过对这个白人种族框架的解构和重构,我们才能开始在音乐理论中看到积极的种族变化。
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Music Theory’s White Racial Frame
For over twenty years, music theory has tried to diversify with respect to race, yet the field today remains remarkably white, not only in the people who practice music theory but also in the race of the composers and theorists whose work music theory privileges. In this article, I offer a few explanations for why this is so. I posit a music-theoretical “white racial frame” that is structural and institutionalized, and argue that only through a deframing and reframing of this white racial frame will we begin to see positive racial changes in music theory.
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来源期刊
CiteScore
2.30
自引率
20.00%
发文量
15
期刊介绍: A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.
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