Gossiping to music in sixteenth-century France
Gossiping to music in sixteenth-century France
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在十六世纪的法国听音乐闲聊
DOI：
10.1111/rest.12200
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发表时间：
2016
影响因子：
0.2
通讯作者：
Brooks J
中科院分区：
文献类型：
--
作者：
Brooks J
在16世纪法国香颂保留曲目中广泛的程序性和叙事性歌曲中，有一个重要的子集涉及八卦图像。有些作品通过叙述者的声音讲述了有趣的故事，仿佛在与听众分享八卦，而其他作品则上演了无意中听到的情节，听众被想象成偷听八卦的女人。这些作品有几个显著的特点，包括它们的淫秽主题，八卦者的性别和社会地位，以及无意义音节的突出使用，这些音节作为铿锵意象的非语义载体，代表动物的噪音，以及口齿不清的哭声和惊叹声。八卦歌曲的作曲家们运用了从各种歌曲技巧中提取的音乐惯例来评论八卦的本质，认为它既合理又有意义。本研究探讨了处于读写和口语边缘的八卦歌曲，不仅询问了文本和音乐结构的特征，还考虑了这些作品在表演中的作用，并询问这些作品中女性，下层社会群体的表现以及为受过教育的男性精英消费而设计的非法或过度的声音的目的是什么。
Amid the wide range of programmatic and narrative songs that characterize the sixteenth‐century Frenchchansonrepertory, a significant subset deals with images of gossip. Some pieces offer juicy stories told by the narrative voice as if sharing gossip with listeners, while others stages episodes of overhearing, where listeners are imagined as eavesdropping on gossiping women. These pieces share several salient features, including their salacious subject matter, the gender and social status of the gossipers, and the prominent use of nonsense syllables, which act as non‐semantic carriers of sonorous imagery and function to represent animal noises as well as inarticulate cries and exclamations. Composers of gossip songs deploy musical conventions drawn from the arsenal ofchansontechniques to comment on the nature of gossip as sound and as sense. This study explores songs of gossip at the borderline of literacy and orality, interrogating not only features of textual and musical construction but also considering the role of such pieces in performance, and asking what purposes were served by these representations of women, lower social groups, and illicit or excessive vocality in these pieces conceived for consumption by educated male elites.