声音见证:音乐、见证和真理

IF 0.2 1区艺术学 N/A MUSIC

Ethnomusicology Forum Pub Date : 2021-05-04 DOI:10.1080/17411912.2021.1944254

Ariana Phillips-Hutton

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引用次数: 0

摘要

自从理查德·塔鲁斯金(Richard Taruskin)在称赞作曲家史蒂夫·赖希(Steve Reich)的《不同的列车》(1988)中使用幸存者的证词作为“对大屠杀的唯一适当的音乐回应”以来，西方艺术音乐作曲家们就把音乐化的证词作为一种真实的声音见证历史冲突的形式。音乐和证词之间的这种持久联系通常被视为记录创伤的记忆，然而这种解释并没有解决声音的假定真理与其在音乐中的美学表现之间的相互关系。受汉娜·阿伦特(Hannah Arendt)“事实真相永远不会令人信服地真实”的说法的推动，在这篇文章中，我追踪了纪录片声音和音乐的相互渗透，以传达令人信服的现实或真相。紧接着是Philip Miller和Mary Kouyoumdjian作品中的证词证人的例子。最后，我反思了感言音乐在传授与社会冲突有关的令人信服的真理方面可能发挥的作用。

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Sonic witnesses: music, testimony, and truth

ABSTRACT Ever since Richard Taruskin pointed to Steve Reich’s use of survivor testimony in hailing the composer’s Different Trains (1988) as ‘the only adequate musical response … to the Holocaust’, composers of Western art music have embraced musicalised testimony as a form of truthful sonic witnessing to historical conflict. This persistent connection between music and testimony often is framed as documenting memories of trauma, yet this interpretation does not address the reciprocal relationships between the presumed truths of sound and its aesthetic presentation in music. Driven by Hannah Arendt’s claim that ‘factual truths are never compellingly true’, in this essay I trace the interpenetration of documentary sound and music as conveying a compelling reality or truth. This is followed by examples of testimonial witnesses in works by Philip Miller and Mary Kouyoumdjian. Finally, I reflect on the roles that testimonial music might play in imparting such compelling truths in connection with societal conflict.

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来源期刊

Ethnomusicology Forum MUSIC-

CiteScore

1.10

自引率

25.00%

发文量

期刊介绍： Articles often emphasise first-hand, sustained engagement with people as music makers, taking the form of ethnographic writing following one or more periods of fieldwork. Typically, ethnographies aim for a broad assessment of the processes and contexts through and within which music is imagined, discussed and made. Ethnography may be synthesised with a variety of analytical, historical and other methodologies, often entering into dialogue with other disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance, folklore and linguistics. The field is therefore characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective.