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Queer Music, Queer Theory, Queer Music Theory

酷儿音乐、酷儿理论、酷儿音乐理论

基本信息

批准号：
AH/P007740/1
负责人：
David Bretherton
金额：
$ 22.61万
依托单位：
University of Southampton
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP007740%2F1
关键词：
Queer Music Theory

项目摘要

If a composer is queer, is their music queer too? In the early 1990s Susan McClary proposed that the answer to this question was 'yes'. She furthered Maynard Solomon's controversial proposal that Franz Schubert (1797-1828) might have been gay by suggesting that analysis of Schubert's music (that is, close study of its inner-workings) revealed stylistic features that might be associated with his homosexuality. Conservative music-lovers were appalled at the idea of a gay Schubert, let alone that their favourite Schubert works might be intrinsically gay too, and they preferred to attribute his unique musical ability to mental health problems, venereal disease, or even his ugly appearance. Yet queer musicology had burst out of the closet and into the academic limelight, and the debate about Schubert's sexuality was even reported in the mainstream press. The notion of 'queer music analysis', however, was damaged during the debate: in 1993 Rita Steblin comprehensively rebutted Solomon's biographical research and asserted that the evidence in fact pointed towards Schubert's vigorous heterosexuality, which left McClary's hypothesis of Schubert's homosexual musical style looking precarious. Apparently discredited, research into the analysis of queer music continued, but with considerably less prominence. (By contrast, the idea that popular music is often sexual, and sometimes queer, has been far less controversial: consider Bowie and Prince, for example.) In the quarter-century since the birth of queer musicology, scholarship, and cultural and political attitudes have altered considerably. Many Western countries have introduced legislation to recognise same-sex relationships, and even President Putin acknowledged in 2013 that Tchaikovsky, Russia's most famous composer, was probably gay (inconvenient for Putin, given Russia's enactment of a so-called 'gay propaganda' law that year). Recently, there has been a renewed interest in queer music analysis, and a re-evaluation of the work and conclusions of earlier queer music scholarship is now due. Indeed, the very notion of 'queer music' is itself contestable and uncertain. We know that there are queer composers, whose artistic intentions may be related to their queer identity. But surely their intentions are not reducible to queerness alone? Perhaps rather than 'queer music' we should speak of queer creative strategies, queer forms of expression, queer 'meanings'? What, then, is 'queer' about queer music? Where does its queerness reside? And what can the analysis of queer composers' music contribute to our understanding? This Fellowship ('Queer Music, Queer Theory, Queer Music Theory') will allow Dr David Bretherton to take a lead in re-energising the debate about the nature of queer music, and to play a decisive role in the re-conceptualisation of queer music from a music-theoretical and -analytical perspective (that is, from the perspective of the features and 'language' of music itself, rather than of the character traits of its composers). Focusing on selected works from the last two centuries, by composers such as Schubert, Tchaikovsky, Copland, Britten and Finnissy, this research will explore the emergence of queer musicology and critique earlier work in this area. It will then interrogate the concept of 'queer music' through several music-analytical case studies organised around core ideas from the discipline of queer theory. The notion that modern Western society is dominated by a 'heteronormative' discourse favouring heterosexual relationships and 'normal' gender behaviours will be particularly important, because its analogue, musical convention, when subverted is often dubiously interpreted as autobiographical evidence of a composer's queerness. This project seeks more nuanced and thoughtful alternatives, and seeks to align queer musicology with other approaches in the humanities. Its findings will be reported in a variety of academic and public forums.

如果一个作曲家是酷儿，那么他们的音乐也是酷儿吗？上世纪90年代初，苏珊•麦克拉里（Susan McClary）提出，这个问题的答案是肯定的。她进一步证实了梅纳德·所罗门提出的有争议的观点，即弗朗茨·舒伯特（1797-1828）可能是同性恋，她认为对舒伯特音乐的分析（即对其内部结构的仔细研究）揭示了可能与他的同性恋有关的风格特征。保守的音乐爱好者对舒伯特是同性恋的想法感到震惊，更不用说他们最喜欢的舒伯特作品可能本质上也是同性恋，他们更愿意把他独特的音乐才能归因于精神健康问题、性病，甚至他丑陋的外表。然而，酷儿音乐学已经走出了壁橱，进入了学术界的聚光灯下，关于舒伯特性取向的争论甚至被主流媒体报道了。然而，“酷儿音乐分析”的概念在辩论中遭到了破坏：1993年，丽塔·斯特布林全面驳斥了所罗门的传记研究，并断言证据实际上指向舒伯特强烈的异性恋，这使得麦克拉里关于舒伯特同性恋音乐风格的假设看起来不稳定。对酷儿音乐分析的研究显然是不可信的，但仍在继续，但知名度大大降低。（相比之下，流行音乐往往是性的，有时是酷儿的，这种观点的争议要小得多：比如鲍伊和普林斯。）在酷儿音乐学诞生后的四分之一个世纪里，学术界、文化和政治态度都发生了很大的变化。许多西方国家已经立法承认同性关系，甚至普京总统也在2013年承认俄罗斯最著名的作曲家柴可夫斯基可能是同性恋（这对普京来说很不方便，因为俄罗斯在那一年颁布了所谓的“同性恋宣传”法）。最近，人们对酷儿音乐分析重新产生了兴趣，对早期酷儿音乐研究的工作和结论进行重新评估。事实上，“酷儿音乐”这个概念本身就是有争议和不确定的。我们知道有酷儿作曲家，他们的艺术意图可能与他们的酷儿身份有关。但他们的意图肯定不只是为了酷儿吗？也许我们应该谈论酷儿的创作策略，酷儿的表达形式，酷儿的“意义”，而不是“酷儿音乐”？那么，“酷”与“酷”音乐有什么关系呢？它的酷儿性在哪里？对酷儿作曲家音乐的分析对我们的理解有什么帮助？这个研究项目（“酷儿音乐，酷儿理论，酷儿音乐理论”）将允许David Bretherton博士带头重新激发关于酷儿音乐本质的辩论，并从音乐理论和分析的角度（即从音乐本身的特征和“语言”的角度，而不是从作曲家的性格特征的角度）在酷儿音乐的重新概念化中发挥决定性作用。本研究将聚焦于舒伯特、柴可夫斯基、科普兰、布里顿和芬尼西等作曲家过去两个世纪的精选作品，探索酷儿音乐学的出现，并对这一领域的早期作品进行批评。然后，它将通过围绕酷儿理论学科的核心思想组织的几个音乐分析案例研究来询问“酷儿音乐”的概念。现代西方社会被一种“异性恋规范”话语所主导，这种话语倾向于异性恋关系和“正常”的性别行为，这一概念将特别重要，因为它的类比，音乐惯例，当被颠覆时，往往被怀疑地解释为作曲家酷儿身份的自传证据。这个项目寻求更细致和深思熟虑的选择，并试图将酷儿音乐学与其他人文学科的方法结合起来。其研究结果将在各种学术和公共论坛上发表。