頁籤選單縮合
題 名 | 航向音樂的「他者」--薩依德論音樂的表演=Voyage to the Other of Music--Edward Said on Musical Performance |
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作 者 | 蔡永凱; | 書刊名 | 音樂研究 |
卷 期 | 12 民95.12 |
頁 次 | 頁161-174 |
分類號 | 910.11352 |
關鍵詞 | 表演為極致的機會; 音樂研究; 薩依德; 音樂哲思; |
語 文 | 中文(Chinese) |
中文摘要 | 薩依德為廿世紀後半最重要的思想家之一。他的《東方主義》堪稱為後殖民主義的經典,出版後震撼了文化研究以及文學批評界。但是除了他在文學和政治研究上的洞見之外,他個人最主要的興趣卻是音樂,音樂也佔了他非主要文字著作的最大部分。他的音樂思考一方面植根於阿多諾的音樂社會學批判思考,另一方面則為他本身豐富的音樂知識,薩依德企圖將他的批判思考引進音樂研究的領域當中,意圖與當時美國學界的「新音樂學」潮流並駕齊驅。 在他一篇名為〈表演為極致的機會〉中以及其他的相關著作中,他突顯出「演奏」議題的重要性,而這也是在傳統的音樂研究中長時間被忽略的環節。雖然他的理論只具有雛形,然而薩依德還是藉此描繪出他理想中音樂研究應有的主題。 |
英文摘要 | Edward Said, one of the leading thinker in the second half of the 20th century, has exerted overwhelming impact on culture study and literature criticism by his post-colonialistic classics “Orientalism”. In addition to his insights on literature and plitics, his main interest, music, occupies the main portion of his peripheral writings. Rooted on critical music-historical thought inherited from Adrono and his own richful knowledge of classical music, Said attempts to broaden his thought of criticism to embrace the study of music, keeping pace with the concurrent trend of New Musicology in the United States of America. In his article ‘Performance as the Extreme Occasion’ and other related writings, he highlights the significance of “performance”, which has long been neglected by the conventional study of music. Though rough in theoretical framework, Said provides a sketch of his ideal subject matter in the study of music. |
本系統中英文摘要資訊取自各篇刊載內容。