饥荒与战争之歌:美国内战音乐中的爱尔兰饥荒记忆

IF 0.2 3区 艺术学 0 MUSIC
Sarah Gerk
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引用次数: 0

摘要

这篇文章阐明了爱尔兰大饥荒或“一个戈尔塔·莫尔”(1845–1852)的记忆在美国内战(1861–1865)期间塑造美国音乐的方式。在关于南北战争中的爱尔兰裔美国人的研究中,很少有资料能实质性地讲述大饥荒留下的挥之不去的记忆和创伤。然而,1860年居住在美国的约160万爱尔兰移民中,有相当一部分是饥荒幸存者,其中17万人应征入伍。音乐在情感生活中的独特作用为理解这种跨国背景下的饥荒记忆提供了强有力的素材。这篇文章采用了劳拉·布朗和玛丽亚·P·鲁特的“私人、秘密、阴险的创伤”概念,并理解了杰弗里·亚历山大关于文化创伤是一个社会学过程的观点,强调了战争期间饥荒记忆在音乐制作中出现的一些方式。案例研究包括对美国乐谱的调查、歌曲《Kathleen Mavourneen》的跨国演出和接收历史,以及对北方联盟军最成功的乐队指挥帕特里克·吉尔摩的生活的研究。吉尔摩在19世纪40年代末十几岁时离开了爱尔兰饥荒肆虐的西部的阿斯隆。这种方法本质上是跨大西洋的,考虑到发生在美国、爱尔兰和由英国主导的更广泛的大西洋世界的历史。这篇文章阐述了音乐如何对社会历史做出贡献,创伤研究的应用如何为音乐学工作提供信息,以及创伤记忆如何跨越时间和距离出现,特别是在流散的背景下。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Songs of Famine and War: Irish Famine Memory in the Music of the US Civil War
This article illuminates ways in which memory of Ireland's Great Famine or ‘an Gorta Mór’ (1845–1852) shaped US music during the US Civil War (1861–1865). Among scholarship on Irish Americans in the Civil War, few sources substantively address lingering memories and trauma from the Great Famine. Yet, a significant amount of the estimated 1.6 million Irish immigrants living in the US in 1860, 170,000 of whom enlisted in the war, were famine survivors. Music's unique role in emotional life offers robust source material for understanding famine memory in this transnational context. Adopting a concept of ‘private, secret, insidious trauma’ from Laura Brown and Maria P.P. Root, as well as understanding Jeffrey Alexander's ideas about cultural trauma as a sociological process, the article highlights a some of the ways in which famine memories emerged in music-making during the war. Case studies include a survey of US sheet music, the transnational performance and reception history of the song ‘Kathleen Mavourneen’, and research on the life of the northern Union army's most successful bandleader, Patrick Gilmore, who left Athlone, in Ireland famine-ravaged West, as a teenager in the late 1840s. The approach is inherently transatlantic, accounting for histories that occurred in the United States, Ireland and the broader Atlantic world dominated by Britain. The essay illustrates how music can contribute to social history, ways in which the application of research on trauma can inform musicological work, and ways in which traumatic memories can emerge across time and distance, particularly in diasporic contexts.
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来源期刊
CiteScore
0.30
自引率
66.70%
发文量
58
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