The Many Paths of Decolonization

IF 0.4 2区 艺术学 0 MUSIC
Robin Attas
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引用次数: 0

Abstract

This essay uses analytical sketches of Indigenous DJ collective A Tribe Called Red’s “How I Feel” as a starting point for critiquing the white colonial Eurocentric norms of music analysis as currently practiced in the discipline of music theory. I expand on previous calls for greater diversity and inclusion within the field by exposing colonial and Eurocentric analytical strategies. I then propose some possibilities for decolonizing and Indigenizing music analysis that reflect individuals’ differing capacities for growth and change while also challenging music analysts to move beyond tokenistic gestures.
非殖民化的多种途径
本文使用土著DJ集体A Tribe Called Red的“How I Feel”的分析草图作为起点,批评目前在音乐理论学科中实践的白人殖民欧洲中心音乐分析规范。我通过揭露殖民主义和以欧洲为中心的分析策略,扩展了之前呼吁在该领域内增加多样性和包容性的呼吁。然后,我提出了一些非殖民化和本土化音乐分析的可能性,这些分析反映了个人不同的成长和变化能力,同时也挑战了音乐分析师超越象征性的姿态。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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