格雷·格兰特(Grey Grant)的《间隔时期的无人机》中的跨性别声音

IF 1.8 Q2 SOCIAL SCIENCES, INTERDISCIPLINARY
Penrose M. Allphin
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引用次数: 0

摘要

作曲家的意图通常被当代音乐分析人士淡化,往好里说是故意谬误,往坏里说是误导。对格雷·格兰特合唱作品的分析认为,这种摒弃不仅忽视了作曲家自己的评价所提供的增强表达环境的潜力,而且还有助于压制已经被边缘化的声音,比如跨性别作曲家。作者以音乐理论、酷儿音乐学、酷儿理论为框架,提出了一种结合在世作曲家的声音,避免确认偏差的方法。本文通过对一位跨性别作曲家的采访来论证这一理论框架,以补充对他们当代合唱作品的分析。通过结合作曲家对自己音乐的陈述来分析作品,作者描绘了一幅更完整的作品图景,将音乐分析与作品背后的跨音重新结合起来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Trans Sonorities in Grey Grant's “Drones for the In-Between Times”
Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confirmation bias by building on the framework of music theory, queer musicology, and queer theory. The article demonstrates this theoretical framework using an interview of a transgender composer to supplement an analysis of their contemporary choral piece. By analyzing the work with the added context of the composer's statements about their own music, the author paints a more complete picture of the work, one that reinvests music analysis with the trans voice behind the composition.
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来源期刊
TSQ-Transgender Studies Quarterly
TSQ-Transgender Studies Quarterly SOCIAL SCIENCES, INTERDISCIPLINARY-
CiteScore
1.90
自引率
28.60%
发文量
33
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