Genre and “Genring” in Music Education

L. Ellefsen
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引用次数: 1

Abstract

In this article, I explore the theoretical and analytical potential of the concept of genring, which here refers to productive acts of temporary interpretation and signification, wherein existing classification systems and genre categories in the social are operationalized and (re)negotiated. Foucault and Butler’s theories of discursive subjection serve as a theoretical framework to consider how genring works as a performative mode of action: a discursive, reiterative, and citational practice that establishes ontological effects of truth, reality, and naturalness. This performative mode of action is not a “discursive practice” in itself; rather, it might be understood as one of the ways discourse practices itself. To probe the analytical value of the concept genring, I take as my case the field of music education, where genring seems to be a common strategy for associating music with music, music with people, and people with people for educational purposes.
音乐教育中的体裁与“培养”
在这篇文章中,我探讨了生成概念的理论和分析潜力,这里指的是暂时解释和意义的生产行为,其中社会中现有的分类系统和类型类别被操作和(重新)协商。福柯和巴特勒的话语主体理论作为一个理论框架,用来考虑生成如何作为一种行为的执行模式:一种话语的、重复的和引用的实践,建立了真理、现实和自然性的本体论效应。这种行为的表现方式本身并不是一种“话语实践”;相反,它可以被理解为话语实践自身的一种方式。为了探究概念生成的分析价值,我以音乐教育领域为例,在这里,概念生成似乎是一种将音乐与音乐、音乐与人、人与人联系起来的常见策略,以达到教育目的。
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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28 weeks
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