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该研究分析了摇滚新闻业中关于假想唱片的评论。假想唱片因其特有的爆发性和似是而非的性质,成为具有启发作用的小众音乐批评。文稿还论及整个乐评写作领域的主要特征。作者选取了来自美国、英国和意大利等国家有代表性的(即有历史意义的、有几分名气的、特别有趣的)九个评论文本作为个案研究(从六七十年代摇滚新闻业的黄金时代直至今天;相关作者包括:格雷尔·马库斯、莱斯特·邦斯、里卡尔多·贝尔通切利、毛里齐奥·比安基尼、马西莫·库托、维托雷·巴罗尼、迪奥尼西奥·卡普阿诺、西蒙·雷诺兹和保罗·莫利、理查德·梅尔策),由此建立了一种类型,强调它们的异同点。这些评论表面上是同源物,但在意图、语境、风格和接受上却有所区别:大体上可以区分出确有其人艺术家的假想唱片与假想艺术家的假想唱片;假想唱片评论可分为意在施行传媒恶作剧的评论,以及几乎明确地旨在成为与读者共谋的游戏的评论。后一种分类以卡普阿诺的专栏《使命:它是可能的》(从2005年至2012年在《爆破》月刊上发表)作为显著例证,成为最有趣且最复杂的个案。这些评论酷似游戏且具有互文性(他们建构了一个需要专业领域知识的参照网络),反映出音乐批评(他们通过假想唱片谈论现有音乐),尤其是元批评(他们的理想读者首先本身就是音乐评论家)的规范形式;同时这些评论因强调音乐批评实践的主观、叙事及变形特征而超越了规范的音乐新闻报道。
The study analyzed rock journalism’s commentary on hypothetical recordings. Because of its unique explosive nature and plausible nature, the hypothetical record becomes an instructive critic of niche music. The manuscript also addresses the main features of the entire field of music critic writing. The author selected nine commentary texts from the United States, the United Kingdom, and Italy, representative (ie, historic, well-known, and particularly interesting) as case studies (from the 1960s and 1970s, The ages up to the present day; relevant authors include: Garele Marcus, Leicester Bousse, Riccardo Beltonselli, Maurizio Biancini, Massimo Cotto, Vittorio Barone, Dionissio Capuano, Simon Reynolds and Paul Morley, and Richard Meltz), thus establishing a type that emphasizes their similarities and differences. These reviews are apparently homologues, but differ in their intentions, contexts, styles, and receptivities: in general they can make a distinction between hypothetical and hypothetical artists’ recordings of their own artists; hypothetical records can be divided A commentary intended to impose a media prank, and a comment almost exclusively intended to be a game of conspiracy with the reader. The latter category is the most interesting and complex case of Capuano’s column “Mission: It Is Possible” (published in the monthly Bulletin of Demolition from 2005 to 2012) as a prominent example. These comments are game-like and intertextual (they construct a reference network that requires expertise in the field of expertise), reflecting musical criticism (they talk about existing music through hypothetical recordings), especially meta-criticism (their ideal audiences are themselves first Music critics); at the same time these comments go beyond the standard music news coverage by stressing the subjective, narrative and transformative features of music criticism practice.