《大提琴家一生的动机与情感》

Guadalupe López-Íñiguez
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引用次数: 3

摘要

这个多层次的自我民族志包含了与大提琴音乐片段相关的瞬间场景,这些场景铭刻在我的记忆中,刻在我指尖的老茧上,这些经历伴随着我的身体、情感和动机,从我年轻的时候就开始了。我巧妙的方法论通过声音唤起真实的记忆,构成一种“心灵的方法论”(Pelias 2004)。因此,我将音乐、“挽歌”和故事与过去和现在的时刻混合在一起,创造出一种持续时间的厚度,一种录影带。在分析自传体记忆时,我有意将主体间性作为一种唤起性的敏感性来解释音乐教育和古典音乐表演领域的文化假设。这些假设包括“有才能”的重要性,暴露于外部压力源和竞争,以及教师和学生之间权力关系的不平衡。我的目标是扩大对艺术研究形式的理解,并强调古典音乐家教育中的某些教学和社会实践,这些实践可能会损害他们的福祉和身份建构。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Epiphonies of Motivation and Emotion Throughout the Life of a Cellist
This layered autoethnography comprises momentary scenes connected to musical pieces for cello that are engraved in my memory and on the calluses of my fingertips by significant physical, emotional, and motivational experiences that have accompanied me since my youth. My artful methodology invokes truthful memory through sound to compose a “methodology of the heart” (Pelias 2004). I thus blend music “epiphonies” and stories with past and present moments to create a thickness of duration, an épaisseur. I purposely used intersubjectivity as an evocative sensitivity when analyzing autobiographical memories to interpret cultural assumptions in the field of music education and classical music performance. These assumptions include the importance of being ‘talented’, the exposure to external stressors and competitiveness, and the imbalance of power relations between teachers and students. My aim is to expand understandings of forms of arts research, and to highlight certain pedagogical and social practices in the education of classical musicians that can compromise their well-being and identity construction.
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审稿时长
28 weeks
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