Queer Ear - Remaking Music Theory
Queer Ear - Remaking Music Theory
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酷儿耳朵 - 重塑音乐理论
DOI：
10.1093/oso/9780197536766.003.0004
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发表时间：
2023
期刊：
影响因子：
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通讯作者：
Bretherton D
中科院分区：
文献类型：
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作者：
Bretherton D
本章采用广泛的、交叉的方法来进行酷儿研究，反思了二十年来作者自己的酷儿和残疾人立场对他们对弗朗茨·舒伯特的《阿特拉斯》的解读所产生的影响。在对这首歌进行了详细的音乐分析之后，作者提供了多种解读（“Surface”、“Straight”、“Gay”和“Disabled”），根据自己的经历依次评估每一个解读，并考虑到舒伯特报道的残疾和他是同性恋的暗示，推测这首歌可能是一个编码的自传声明的可能性。然后，这四种解读被酷儿化，然后尝试的“酷儿解读”得出的结论是，无论舒伯特的疾病和性取向如何，这首歌的信息都是非常保守的：屈服于强者并了解自己的立场。本章最后主张酷儿音乐理论应该包含主观性、模糊性和多重解读，并且对一首作品的酷儿解读不应被视为取决于其作曲家是否具有酷儿性取向。
Adopting a broad, intersectional approach to queer studies, this chapter reflects on the impact that the author’s own queer and disabled positionality has had on their interpretation of Franz Schubert’s “Der Atlas” over a twenty-year period. Following a detailed music analysis of the song, the author offers various readings (“Surface,” “Straight,” “Gay,” and “Disabled”), evaluates each in turn with reference to their own experiences, and—given Schubert’s reported disabilities and the suggestion that he was homosexual—speculates on the possibility that the song could be a coded autobiographical statement. These four readings are then queered, before an attempted “Queer Reading” concludes that, regardless of Schubert’s illnesses and sexuality, the song’s message is deeply conservative: submit to the powerful and know your station. The chapter concludes by arguing for queer music theory to embrace subjectivity, ambiguity, and multiple readings, and that the queer reading of a composition should not be considered contingent on its composer having a queer sexuality.