音乐史与爱情?暗杀,邪教,还有势利小人

IF 0.2 0 MUSIC
M. Frolova-Walker
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引用次数: 0

摘要

在这篇文章中,我引用了一些对音乐的热爱的有力表现的例子,这些例子通常都在音乐历史学家的雷达之下。其中之一是当前的案例研究:“男高音崇拜”作为40年代和50年代苏联文化的一个突出特征。由于当局的劝阻和批评者的蔑视,它导致了奢侈的行为,这对于这样一个严格管制的社会来说似乎是反常的。这种对音乐和表演者的强烈热爱主要是由女性驱动的,它为许多参与者提供了形成性的、决定人生的经历。我测试了“中产阶级”概念的适用性。为了分析这一现象,并调查这些研究如何有助于听众导向的音乐史项目。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Music history with love? The hits, the cults, and the snobs
In this article I refer to a number of examples of powerful manifestations of love for music that routinely fall under the radar of music historians. One of these is the present case study: the 'tenor cult' as a prominent feature of Soviet culture in the 40s and 50s. Discouraged by the authorities and scorned by critics, it led to extravagant behaviour that may seem anomalous for such a regimented society. This potent love for both music and performer was largely female-driven, and it delivered formative, life-defining experiences for many of the participants. I test the suitability of the concept of ?the middlebrow? for analysing this phenomenon and investigate how such studies can contribute to the project of a listeneroriented music history.
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来源期刊
CiteScore
0.20
自引率
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发文量
5
审稿时长
12 weeks
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