扩音器

Andrea F. Bohlman
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引用次数: 0

摘要

本章考察了一些最有魅力的反对派领导人的声音放大。在团结工会的十年里,公共舞台上的演讲和仪式吸引了广泛的观众。1980年12月,一座纪念碑揭幕,纪念1970年被暴力镇压的抗议活动。在这次活动中,通过扬声器播放的克日什托夫·潘德列茨基的《Lacrimosa》(1980)与共产党与潘德列茨基以及作为公众人物的作曲家的关系息息相关。1970年的抗议活动还通过对一首民谣“Janek Wiśniewski Fell”的解读展开。这首方言歌曲在左翼媒体、电影和电子音乐中的使用,开启了对创伤、记忆和地点的讨论,与揭幕仪式上所做的纪念工作形成对比。本章最后通过媒体网络对莱赫Wałęsa进行音乐研究。他的魅力鼓舞了琼·贝兹(Joan Baez),她为他写歌,并前往Gdańsk为反对派表演。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Megaphone
This chapter examines the sonic amplification of some of the opposition’s most charismatic leaders. Through Solidarity’s decade, speeches and ceremonies on public stages shaped a broad audience. In December 1980 a monument was unveiled to commemorate a violently squelched 1970 protest. The playback of Krzysztof Penderecki’s Lacrimosa (1980) over loudspeakers at this event is contextualized with the Party’s relationship to Penderecki and the composer as a public figure. The 1970 protest also unfolds across interpretations of a ballad, “Janek Wiśniewski Fell.” This vernacular song’s use in leftist media, in films, and within electronic music opens up a discussion of trauma, memory, and place in counterpoint to the commemorative work done at the unveiling. The chapter concludes with a musical study of Lech Wałęsa through media networks. His charisma invigorated Joan Baez, who wrote songs for him and traveled to Gdańsk to perform for the opposition.
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