musicologythe key concepts摘要英文部分翻译文档格式.docx

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coverversion

criticalmusicology

criticaltheory

criticism

culturalstudies

culturaltheory

culture

cultureindustry

deconstructionjazz

diegetic/nondiegetic

discourse

Enlightenment

ethnicity

ethnomusicology

expressionism

feminism

form

formalism

gaymusicology

gender

genius

genre

globalization

hermeneutics

history

historical

historicism

historiography

hybridity

identity

ideology

influence

interpretation

intertextuality

landscape

language

literarytheory

Marxism

meaning

metaphor

modernism

music/musicologyIntroduction

musicology

narrative

nationalism

neoclassicism

newmusicology

organicism

orientalism

performance

periodization

place

politics

popularmusic

positivism

post-colonial/postcolonialism

postmodernism

post-structuralism

psychology

race

reception

recording

Renaissance

rhetoric

Romanticism

semiotics

serialism

sexuality

Sketch

structuralism

style

subjectivity

subjectposition

sublime

theory

tradition

value

work

CULTURALSTUDIES

Thetermculturalstudiescanbeunderstoodasageneralizationthatembracesallaspects

TheKeyConcepts33

ofthestudyofculture,includingmusic.However,althoughitisclearlysurroundedby

multiplemeaningsandcontexts,ithasadistinctlineageandisoftenrelatedtoquite

specificpracticesandtheories.Thepointoforiginisgenerallygivenastheworkof

RaymondWilliams,oneofthemostimportantandimaginativewritersonculture,and

RichardHoggart.TheformationoftheBirminghamCentreforContemporaryCulturein

1964,directedbyRichardHoggartandthenStuartHall,representsthebeginningsof

culturalstudiesasanacademicdisciplineandtheincreasinglyrigoroustheorizationof

culture.ThetheoreticalworkthatemergedfromBirminghamembracedamulti-（orinter-

）disciplinaryforceandengagedwithadiverserangeofculturalpractices,factorsthatare

nowcentraltomostversionsofculturalstudies.

Culturalstudieshaveoftenbeenconcernedwithpopularculture（seepopularmusic）,

thedistinctionbetweendifferentformationsorlevelsofculturebeingarecurrentissue.

Thisfocusonthepopularhasoftentakenapoliticaldimensionthroughengagementwith

issuessuchasclass.ThesetendenciesarewellarticulatedinDickHebdige’sSubculture:

TheMeaningofStyle（Hebdige1979）,aworkthatisfirmlyintheBirminghamcultural

studiestradition.Hebdigeisconcernedwiththeaspirationofyoungpeoplefor

emancipationfromtherealitiesofevery-daylife.Thisleadstoconsiderationofthe

identityofyouthsubculturesandtheoppositionbetweenthisaspirationandthe

commoditystatusandpressuresofthewiderculturalandeconomiccontexts.Essentially

Hebdigeconstructsadialecticalresolutionofthisopposition,bringingthesetensions

togetherthroughthefocusonstyle,whichbecomesasiteofinterplaybetweendifferent

conflicting,competingpressures.Theseissuesaresituatedinthepopularmusicofthe

period,withreferencesmadetostylessuchasglam,reggaeandpunk.

Someofthemostinsightfulworkonpopularmusic/culturetoemergefroman

explicitlyculturalstudiesbackgroundcomesfromAmericanculturaltheoristLawrence

Grossberg,whoviewspopularmusicwithinbroadculturalcontextsand,often,through

politicalandideologicalperspectives（seeideology）.Intheintroductiontoacollection

ofessaystiltedDancinginSpiteofMyself（Grossberg1997a）,Grossbergsituateshis

‘project’‘betweenaninterestinthesocialeffectsandlogicsofpopularculture,especially

rockmusicandyouthculture,andacommitmenttothepossibilitiesofculturalstudiesas

aformofprogressiveintellectualwork’（ibid.,1）.ThissituationleadsGrossbergto

summarizehisworkthrough‘fourtrajectories’:

‘aconcernwiththespecificpracticeof

culturalstudies;

aphilosophicalinterestinculturalandcommunicationtheory;

an

explorationofthepopularityandeffectivityofrockmusic;

andaninvestigationintothe

apparentsuccessofthenewconservativehegemony’（ibid.,1）.These‘trajectories’

outlinesomeimportantareasand,inmanyways,canstillbeinterpretedasanagendafor

thefuturemappingofculturalstudiesandpopularmusic.Thefinaltrajectory,the‘new

conservativehegemony’,remindsusthatmusicasaculturalpracticeexistsinpolitical

contextsandlocations,bothofwhichareformedbywhatGrossbergperceivesasthe

dominantpoliticalandculturalclimateofAmericaatthetimeofwriting.

Althoughculturalstudiesmayrelatemostdirectlytopopularmusic,manyrecent

trendsinmusicology,throughanew-foundinterdisciplinarityprovidesometelling

parallels（seenewmusicology）.TextssuchasGaryTomlinson’sMusicinRenaissance

Magic（Tomlinson1993b）,SusanMcClary’sFeminineEndings（McClary1991）and

JohnShepherd’sMusicasSocialText（Shepherd1991）,whilenotalwaysengagedwith

Musicology34

specifictraditionsandagendasofculturalstudies,remindus,inmanydifferentways,that

musicisaculturalpracticeandexistsinandthroughculturalcontexts.

Furtherreading:

During1993;

Grossberg1993,1997b;

Inglis1993;

Mulhern2000

CULTURALTHEORY

seecriticaltheory,culturalstudies,culture

CULTURE

AccordingtotheinfluentialculturaltheoristRaymondWilliams,culture‘isoneofthe

twoorthreemostcomplicatedwordsintheEnglishlanguage’（Williams1988,87）.

WilliamsmadethisstatementinabooktitledKeywords,itselfanimportantculturaltext.

ThecomplicationssuggestedbyWilliamsemergefromthedifferentcontextsinwhich

thewordisusedandthedifferentmeaningsthatattachtoit.Whileculturehasgenerally

beenusedasanall-embracingtermforcreative,educationalandartisticactivities,Terry

Eagletonstressesthephysicalityofthetermanditsrelationshipwithnature:

‘thoughitis

fashionablethesedaystoseenatureasaderivativeofculture,culture,etymologically

speaking,isaconceptderivedfromnature’.Followingfurtherconsiderationofearlier

usages,heconcludes:

‘Wederiveourwordforthefinestofhumanactivitiesfromlabour

andagriculture,cropsandcultivation’（Eagleton2000,1）.This‘cultivation’conveysan

imageofdevelopmentandgrowth,termsdescriptiveofnaturebutwhichrelatetohuman

activity,specificallyeducation.Thisunderstandingofculturehasaclearapplicabilityto

bothmusicandmusicology,bothofwhichareinextricablylinkedtoeducational

processesandcontexts.

Cultureisoftenthoughtofasbothacontextandasetofpracticesthatdefinethat

context.Thesuggestionofcontextindicatesthatcultureexistsasacollectivepractice.

ThisviewwasprojectedbyT.S.Eliotinatexttitled‘NotesTowardstheDefinitionof

Culture’,inwhichEliotexploredtheinterrelationshipsofthreelevelsofculture:

the

individual,groupsorclasses（seeclass）,andthewholeofsociety.Eachoftheselevels

dependsonthenextandresultsinanunderstandingofcultureas‘thewholewayof

life’（Eliot1975,297）.Eliot’sperspective,whichwasdrivenbyhisownreligiousbeliefs,

raisescertainfundamentalissues.Clearly,anyindividualassertsidentitythroughhisor

herculturalassociations,and,socialand/oreconomicallydefinedgroupingsmayalso

formidentitiesthroughsharedinterestsandissues,buthowallthiscanbesubsumed

withinaculturaltotalitythatisthe‘wholeofsociety’remainsproblematic.Itisnotable

thatEliotusesthesingularratherthantheplural（theratherthanadefinitionofculture）.

Fromourcontemporarymulticulturalperspective（seeethnicity）,Eliot’sdefinitionsof

cultureseemsomewhatoutdated,buteveninthecontextofEliot’sowntimetherewere

issuesofdiversityanddifference（seealterity）thatwouldformaresistancetohis

interpretationofculture.

RaymondWilliamscontinuallyproducedinsightfuldiscussionsofcultureanditsstudy

（seeculturalstudies）,andhealsoengagedwithEliot’s‘wholewayoflife’,comingto

TheKeyConcepts35

quitedifferentconclusions（Williams1958）.Williamstalksofcultureasafluidprocess

andtheneedto‘recognizenotonly“stages”and“variations”buttheinternaldynamic

relationsofanyactualprocess’（Williams1977,121）.Thisrelationshipbetweenchange

（‘stages’and‘variations’）andtheinternaldynamicleadsWilliamstostatethat:

Wehavecertainlystilltospeakofthe‘dominant’andthe‘effective’,andin

thesesensesofthehegemonic.Butwefindthatwehavealsotospeak,and

indeedwithfurtherdifferentiationofeach,ofthe‘residual’andthe‘emergent’,

whichinanyrealprocess,andatanymomentintheprocess,aresignificant

bothinthemselvesandinwhattheyrevealofthecharacteristicsofthe

‘dominant’.

（ibid.,121–2）

Theseterms（dominant,residual,emergent）areimportantforWilliams,andthey

purposefullyreflectthedynamicnatureofcultureasprocess.‘Residual’relatestopast

cultures:

‘By“residual”Imeansomethingverydifferentfromthe“archaic”….Any

cultureincludesavailableelementsofitspast,buttheirplaceinthecontemporarycultural

processisprofoundlyvariable’.Clearly,anycultureorculturalcontexthasapast,an

inheritance,buthowthatisreconstructedinthepresentisopentochange（is‘variable’）.

ThisresidualculturecoexistswithwhatWilliamsterms‘emergent’culturalpra