摘要
摇滚乐是音乐工业非秩序化噪音生产的重地,其中负载着性别主体身份符码的摇滚乐人的歌唱中潜藏着大量性别化的噪音。由平台发起,独立唱片公司与乐人共同参与制作的平台音综《乐队的夏天2》在全面呈现另类噪声的同时创造了不少性别化的“聆听的颠覆性”时刻,为剖析女性乐人的另类发声美学、反思性别秩序与社会意识形态提供了土壤。结合音乐学,性别研究与文化研究理论提出嗓音/发声的阴性噪音分析框架,指出了非韧性的、身体性的阴性噪音再现了位于工业和社会边缘的生命体验和族群历史,是反抗新自由主义韧性生命政治与平滑数字审美的颠覆性声音。不过,仍需留意音综噪音中看似颠覆实则与音乐工业和平台资本同构的伪阴性噪音。
Rock music has been a central arena for the production of noises in music industries.The singing of rockers,carrying gendered subject identities,harbors a wealth of gendered noises.“The Big Band 2,”a variety show launched by Aiqiyi and involving indie record companies and musicians,presents a contested soundscape of Chinese gendered rock noises,creating moments that exemplify the“disruptive nature of listening.”It also provides a critical perspective for exploring alternative expressions of female rock singers and contemplating gender order and social ideology.Drawing upon theories of musicology,gender studies and cultural studies,this paper introduces a theoretical framework of voice/voicing to comprehend feminine noises.It argues that these non-resilient,bodily feminine noises represent the lived experience and ethnic minorities’history of those marginalized within the music industry and broader society.These noises are subversive as they challenge the resilient biopolitics and sleek digital aesthetics propagated by neoliberalism.However,it should be recognized that these seemingly subversive pseudo-feminine noises also conform to industrial commodification and platform capitalism.
出处
《文艺理论研究》
CSSCI
北大核心
2024年第3期173-183,共11页
Theoretical Studies in Literature and Art
基金
暨南大学“宁静致远”工程启明星计划项目“声音传播视阈下城市声音环境与听觉能动性研究”[项目编号:332202312623657]阶段性研究成果。
