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

1、cover versioncritical musicologycritical theorycriticismcultural studiescultural theorycultureculture industrydeconstruction jazzdiegetic/nondiegeticdiscourse Enlightenment ethnicityethnomusicologyexpressionismfeminismformformalismgay musicologygendergenius genreglobalization hermeneuticshistoryhist

2、orical historicismhistoriography hybridityidentityideologyinfluenceinterpretationintertextualitylandscapelanguageliterary theoryMarxism meaning metaphormodernismmusic/musicology Introductionmusicologynarrativenationalism neoclassicismnew musicology organicismorientalismperformanceperiodizationplacep

3、oliticspopular musicpositivismpost-colonial/postcolonialismpostmodernismpost-structuralismpsychologyracereceptionrecordingRenaissancerhetoricRomanticismsemioticsserialismsexualitySketchstructuralismstylesubjectivitysubject positionsublimetheorytraditionvalueworkCULTURAL STUDIESThe term cultural stud

4、ies can be understood as a generalization that embraces all aspectsThe Key Concepts 33of the study of culture, including music. However, although it is clearly surrounded bymultiple meanings and contexts, it has a distinct lineage and is often related to quitespecific practices and theories. The poi

5、nt of origin is generally given as the work ofRaymond Williams, one of the most important and imaginative writers on culture , andRichard Hoggart. The formation of the Birmingham Centre for Contemporary Culture in1964, directed by Richard Hoggart and then Stuart Hall, represents the beginnings ofcul

6、tural studies as an academic discipline and the increasingly rigorous theorization ofculture. The theoretical work that emerged from Birmingham embraced a multi- （or inter-） disciplinary force and engaged with a diverse range of cultural practices, factors that arenow central to most versions of cul

7、tural studies.Cultural studies have often been concerned with popular culture （see popular music ）,the distinction between different formations or levels of culture being a recurrent issue.This focus on the popular has often taken a political dimension through engagement withissues such as class . T

8、hese tendencies are well articulated in Dick Hebdiges Subculture:The Meaning of Style （Hebdige 1979）, a work that is firmly in the Birmingham culturalstudies tradition. Hebdige is concerned with the aspiration of young people foremancipation from the realities of every-day life. This leads to consid

9、eration of theidentity of youth subcultures and the opposition between this aspiration and thecommodity status and pressures of the wider cultural and economic contexts. EssentiallyHebdige constructs a dialectical resolution of this opposition, bringing these tensionstogether through the focus on st

10、yle , which becomes a site of interplay between differentconflicting, competing pressures. These issues are situated in the popular music of theperiod, with references made to styles such as glam, reggae and punk.Some of the most insightful work on popular music/culture to emerge from anexplicitly c

11、ultural studies background comes from American cultural theorist LawrenceGrossberg, who views popular music within broad cultural contexts and, often, throughpolitical and ideological perspectives （see ideology ）. In the introduction to a collectionof essays tilted Dancing in Spite of Myself （Grossb

12、erg 1997a）, Grossberg situates hisproject between an interest in the social effects and logics of popular culture, especiallyrock music and youth culture, and a commitment to the possibilities of cultural studies asa form of progressive intellectual work （ibid., 1）. This situation leads Grossberg to

13、summarize his work through four trajectories: a concern with the specific practice ofcultural studies; a philosophical interest in cultural and communication theory; anexploration of the popularity and effectivity of rock music; and an investigation into theapparent success of the new conservative h

14、egemony （ibid., 1）. These trajectoriesoutline some important areas and, in many ways, can still be interpreted as an agenda forthe future mapping of cultural studies and popular music. The final trajectory, the newconservative hegemony, reminds us that music as a cultural practice exists in politica

15、lcontexts and locations, both of which are formed by what Grossberg perceives as thedominant political and cultural climate of America at the time of writing.Although cultural studies may relate most directly to popular music, many recenttrends in musicology, through a new-found interdisciplinarity

16、provide some tellingparallels （see new musicology ）. Texts such as Gary Tomlinsons Music in RenaissanceMagic （Tomlinson 1993b）, Susan McClarys Feminine Endings （McClary 1991） andJohn Shepherds Music as Social Text （Shepherd 1991）, while not always engaged withMusicology 34specific traditions and age

17、ndas of cultural studies, remind us, in many different ways, thatmusic is a cultural practice and exists in and through cultural contexts.Further reading: During 1993; Grossberg 1993, 1997b; Inglis 1993; Mulhern 2000CULTURAL THEORYsee critical theory , cultural studies , cultureCULTUREAccording to t

18、he influential cultural theorist Raymond Williams, culture is one of thetwo or three most complicated words in the English language （Williams 1988, 87）.Williams made this statement in a book titled Keywords, itself an important cultural text.The complications suggested by Williams emerge from the di

19、fferent contexts in whichthe word is used and the different meanings that attach to it. While culture has generallybeen used as an all-embracing term for creative, educational and artistic activities, TerryEagleton stresses the physicality of the term and its relationship with nature: though it isfa

20、shionable these days to see nature as a derivative of culture, culture, etymologicallyspeaking, is a concept derived from nature. Following further consideration of earlierusages, he concludes: We derive our word for the finest of human activities from labourand agriculture, crops and cultivation （E

21、agleton 2000, 1）. This cultivation conveys animage of development and growth, terms descriptive of nature but which relate to humanactivity, specifically education. This understanding of culture has a clear applicability toboth music and musicology, both of which are inextricably linked to education

22、alprocesses and contexts.Culture is often thought of as both a context and a set of practices that define thatcontext. The suggestion of context indicates that culture exists as a collective practice.This view was projected by T.S. Eliot in a text titled Notes Towards the Definition ofCulture, in wh

23、ich Eliot explored the interrelationships of three levels of culture: theindividual, groups or classes （see class ）, and the whole of society. Each of these levelsdepends on the next and results in an understanding of culture as the whole way oflife （Eliot 1975, 297）. Eliots perspective, which was d

24、riven by his own religious beliefs,raises certain fundamental issues. Clearly, any individual asserts identity through his orher cultural associations, and, social and/or economically defined groupings may alsoform identities through shared interests and issues, but how all this can be subsumedwithi

25、n a cultural totality that is the whole of society remains problematic. It is notablethat Eliot uses the singular rather than the plural （the rather than a definition of culture）.From our contemporary multicultural perspective （see ethnicity ）, Eliots definitions ofculture seem somewhat outdated, bu

26、t even in the context of Eliots own time there wereissues of diversity and difference （see alterity ） that would form a resistance to hisinterpretation of culture.Raymond Williams continually produced insightful discussions of culture and its study（see cultural studies ）, and he also engaged with El

27、iots whole way of life, coming toThe Key Concepts 35quite different conclusions （Williams 1958）. Williams talks of culture as a fluid processand the need to recognize not only “stages” and “variations” but the internal dynamicrelations of any actual process （Williams 1977, 121）. This relationship be

28、tween change（stages and variations） and the internal dynamic leads Williams to state that:We have certainly still to speak of the dominant and the effective, and inthese senses of the hegemonic. But we find that we have also to speak, andindeed with further differentiation of each, of the residual a

29、nd the emergent,which in any real process, and at any moment in the process, are significantboth in themselves and in what they reveal of the characteristics of thedominant.（ibid., 1212）These terms （dominant, residual, emergent） are important for Williams, and theypurposefully reflect the dynamic na

30、ture of culture as process. Residual relates to pastcultures: By “residual” I mean something very different from the “archaic”. Anyculture includes available elements of its past, but their place in the contemporary culturalprocess is profoundly variable. Clearly, any culture or cultural context has a past, aninheritance, but how that is reconstructed in the present is open to change （is variable）.This residual culture coexists with what Williams terms emergent cultural pra