音乐作为公共实践与萧《八声组曲》中的白乐问题

IF 0.3 2区 艺术学 0 MUSIC Contemporary Music Review Pub Date : 2022-05-04 DOI:10.1080/07494467.2022.2080457
Sara Haefeli
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引用次数: 0

摘要

卡洛琳·肖的《八种声音的Partita》(2009-11)是一部以全音阶为主的作品,具有感染力的节奏,使她一跃成为明星,并在30岁时获得普利策奖。但Partita平易近人的表面掩盖了它的复杂性,以及它与纽约音乐和艺术学派的密切关系。跟随她的实验先驱的脚步,Shaw的符号是不确定的,因此,位于一个与Shaw成为共同创作者的音乐家社区。肖使用的图形符号在很大程度上是为了表明音色的多样性,因为肖在这首曲子中借鉴了各种各样的全球声乐技巧。本研究的重点是《Partita》的音色变化和图形符号所带来的问题,这些符号作为一组训练有素的“内部人士”表演它的指导,即肖自己的《满屋的牙齿》。圈内人的社区依赖边界,也排斥,这项工作面临着文化挪用的批评,最着名的是2019年因纽特人喉音歌手Tanya Tagaq。这项研究质疑了这首曲子在白人听众身体中激发的喜悦感——在边缘化音乐家身体缺失的情况下创造的喜悦。
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Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices
Caroline Shaw’s Partita for 8 Voices (2009–11) is a largely diatonic work with an infectious groove that has rocketed Shaw to stardom, earning her a Pulitzer Prize at the age of 30. But Partita’s accessible surface belies its complexity and its close relationship to the New York Schools of both music and art. Following in the footsteps of her experimental forerunners, Shaw’s notations are indeterminate and, therefore, situated in a community of musicians that become co-creators with Shaw. The graphic notations that Shaw employs are largely an attempt to indicate timbral variety, as Shaw borrows from a wide variety of global vocal techniques for this piece. The focus of this study is on the problems Partita poses as a result of its timbral variety and the graphic notations that function as instructions for the group of highly-trained ‘insiders’ performing it, namely, Shaw’s own Roomful of Teeth. Communities of insiders rely on boundaries that also exclude, and the work has faced criticisms of cultural appropriation, most famously in 2019 from the Inuit throat singer Tanya Tagaq. This study problematises the sense of joy that this piece excites in the body of the white listener—joy created in the absence of bodies of marginalised musicians.
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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