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音樂美學 課程講義 Week 17 & 18 |
© 2004 嚴瑞祥
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括弧內為指定閱讀, Cook 為作者, I ....為指定閱讀章次 音樂,
政治, 經濟
指定閱讀討論
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Festival/Carnival
嘉年華 |
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Lent
四旬齋 |
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Noise
噪音 |
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消音 through
ritualized order儀式化規範下的消音 |
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Disruption & general violence崩潰與普遍的暴力 |
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The bourgeois norm中產階級規範 |
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The scapegoat is sacrificed.代罪羔羊獻祭 |
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Penitence (personal sacrifice)懺悔 |
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Distraction from the misery of life through
the sacrifice of a god. 由神的犧牲, 轉移生活的苦難 |
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The alienation of life made bearable by a promise
of eternity.永生的應許, 使生活的疏離感較能忍受 |
主要觀念: 音樂是鏡子也是預言.
Attali doesn't theorize about music so music as through it. (4)
所有音樂的唯一共同點是將噪音組織化. (9-10)音樂組織噪音的過程如同政治上組織社會的過程
Music is both a mirror and a prophecy.
It is a mirror, for its organization resembles the current organization of
our society: music is "a repository of . . . the social score." (p.
9)
"音樂與人類社會齊步前進, 有相似的組織, 也隨之改變而改變.
" 音樂是社會秩序的共同記憶" (9)
[We're
not talking about particular societies here, like the difference between
French social life and American social life. Nor is Attali addressing the
specific way that a nation is politically organized, such as the way that the
British political system differs from the American system. He means
organization of the most general sort: the way that feudalism differs from
advanced capitalism.]
At the same time, music is prophecy: "同時音樂也是先知, 它的經濟架構先於其餘的社會與實體物質比較, 他更能快速的以符號探索一切可能性的極限" (11) 預示的能力是因為每一個符碼(組織模式) 都推向其極端的情況, "因而創造其自身破壞的內在環境, 自己的噪音noise.
舊的噪音成為新的和諧音." (35) If we can see where music
is headed, then we can see where all of society is headed. Attali thinks that
he can make predictions about capitalism based on some recent (that is,
1970s!) events in musical life.
These predictions are made in Chapter
5.
基於近年來音樂生活中的事件, 預測資本主義的未來
Chapter 2: Sacrificing犧牲
Main idea:,
在貨物交換前的社會組織下(資本主義之前), 音樂是儀式的殺戮(犧牲)行為that we can set aside our differences in a mutual
sacrifice: 我們可以使噪音(violence)變成音樂(action involving sublimation of violence). 犧牲讓人們忘記我們可自由.
犧牲讓人們忘記秩序已經戰勝自由, 犧牲的價值在於它是嘉年華集體暴力的解毒藥. The value of sacrifice
(why we accept it) is the pure order that it offers as an antidote to the
general violence of carnival.
[I take it that Attali regards listening as a state of
nature in which each of us has the right to secure our needs through
violence, and that we trade this general violence for order in a social
contract.社會契約, 個人抑制暴力, 而讓政體為我們執行暴力Individuals
refrain from violence and allow the state to engage in violence for us.]
There must be a scapegoat (a sacrificial victim) toward
whom we channel the violence that we sacrifice.必須要有待罪羔羊, 經由它, 我們疏通暴力
Attali summarizes his own argument:
噪音是暴力, 即是殺戮Noise is violence,
i.e., murder. Music is a channelization of noise and a simulacrum of
sacrifice, a sublimation to create order and political integration. Therefore
music is ritual murder. (26) highlight inscribe
metonymy 音樂即是噪音的疏通系統, 是犧牲的假象, 是秩序創造, 政治整合的昇華
NOISE DEFINED: "A noise is a resonance that
interferes with the audition of a message in the process of emission."
(26) It is any disruption of any social process, any source of pain. At
the extreme (extreme volume, for instance), it kills.
[Static
on the radio is noise, but so is the grainy interference with a TV image.
Statisticians use the term for random fluctuations in data that they dismiss
as meaningless.]
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Within
the festival we see a simulacrum of pagan sacrifice. (23) |
Popular music (music not fully controlled by society) has
been our one strain of subversion.(13) (But most of what now passes for
popular music is really just the complete 消音 of noise. See
Chapter
Four.)
在此, 音樂有政治的功能, 代表著有組織之社會的真正可能性. 但並不創造財富, 音樂家有贊助著的報酬, 但並無賸餘價值Here, music has a political
function, representing the very possibility of organized society. But it does
not create wealth. (39) The musician is paid a wage by the employer (the
itinerant musician, or Bach) or lord (Haydn!) or is paid in barter. One
use-value (the event of musical performance) is exchanged with another
use-value (food, clothing, etc.). But they are not productive workers, for
there is no surplus value. (38)
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This is the only musician actually shown in
Brueghel's painting. Attali says that Brueghel represents order beside the
chaos [chance?] of the men playing dice. This music accompanies the
ritual sacrifice pictured in the detail shown just above. |
Chapter 3: Representing 再現
主要觀念Main idea: 展演的使用價值牽涉到音樂同步的發展. music makes us believe in
social cohesion. In short, "representation leads to exchange and harmony."
(62) 音樂發展成商品, 當音樂和聲的發展呈現理性進行, 音樂讓我們相信社會的凝聚, 簡言之, 再現導致交換與和諧
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Ultimately, "Lent had taken the upper
hand." (81) 合宜的社會, 人們排隊走出教堂, 而其本身卻是異教徒的祭壇的象徵 Proper society files out the church, itself the
simulacrum of the pagan altar. At bottom of the detail, the rich man gives
money to the poor beggars, bribing them from participation in festival. Is there any music here, Attali wonders, or is there
only 消音? |
Spectacle展演: 音樂廳取代了宗教的, 節慶的, 官方政體的獻祭的音樂的型態, (那些無法創造賸餘價值unproductive家僕所生產的音樂) the concert hall replaces the religious, festival, and official
court settings of sacrificial music that was produced by unproductive workers
(i.e., in the previous stage there was musical activity, largely that of
domestic servants, but there was no wealth created by this activity)
As political events, the American Revolution (1776) and
then the French Revolution (1789) follow the demand for liberation of
composers. The divine rights of kings give way to liberty and representative
government. 隨著美國獨立革命, 法國大革命等政治事件, 作曲家也要求解放.
作曲家不能真正自主, .除非音樂能自主, 成為能產生財富的事務, (經濟獨立) Music must become a commodity, produced to be
exchanged for money. More precisely, through音樂的代表: (樂譜)能產生金錢, 在類似戲劇的再現下呈現. 一種抽象事物的呈現, 表演是理想世界秩序的戲劇再現, 逐漸, 過去皇家才擁有的版權變為私有的 先是創造(作曲), 然後是詮釋（演奏）被分派了金錢
Attali concentrates on the history of this process in
France:
1527:
music publishing receives privilege of exclusive right to profit from copying
works (making new material copies, i.e., scores). Royal
power shifts to music publishers.
1703:
Music publishers denied indefinite copyright.
1708:
Composers denied the right to self-publish and to control copyright income.
1744: Decentralization
of publishing as publishers outside Paris granted equal status with those in
Paris.
1786:
Initial ownership assigned to composers; publishers have rights only if so
assigned by composers; all other publication subject to fines.
1846:
the appearance of the café concert.
1849:
popular songs awarded same status as serious music. Its composers can collect
fees for its performance.
1850:
creation of first association to collect royalties on all music.
Different ticket prices should therefore reflect
differences in labor. (58) But it cannot be related to the time taken to
create a musical work or to perform it (i.e., a price tied to exchange value
would not produce different fees). So "music is outside all
measure." Therefore the value is the use-value for the audience.
"Thus usage and exchange diverge from the start." (59)將金錢價值賦予音樂, 使金錢代表作曲家演奏家的勞力, 因此, 不同的票價應代表不同的勞力, 但這樣票價卻無法與準備(作曲，演奏)的時間相關聯，因此音樂的價值是其使用價值，使用與交換在一開始就偏離了
音樂創造與消費的網路展現了競爭性的資本主義經濟的特質, 新興的中產階級使用音樂來表現其社會秩序的思想體系, 必須允許以金錢代表一切事物的價值
The primitive
notion of natural harmony gives way to equal temperament, the idea of "a
constructed, reasoned order," a scientific construction. (60-61)
The goal of the music of representation is "making people believe by shaping what they hear."
(61)
BACK
TO TOP
錄音引進了新的音樂經濟的網路，鼓勵個體堆積音樂，特點就是重複，大量的重複，預示了所有的社會關係也是如此
集體消費（聽音樂會）變成了個人累積（買唱片），買到的是已消音的了, 唱機取代了咖啡館音樂會，展演被人工假象事件取代，音樂消費不再是一種社會事件（如速食之於食物消費，２４小時不斷重複的有線電視之於電視一樣）沒有這樣的經常性的社交與溝通，我們就不再是個社區，我們犧牲了群體感換來個性化的滿足，經濟上，新科技創造了產品的供給，另一方面，他也需要創造需求，用過還想再用的需求.
Here, "music is used and produced in the ritual in an
attempt to make people forget the general violence; in another, it is
employed to make people believe in the harmony of the world, that there is
order in exchange and legitimacy in commercial power."
以物換物被金錢交易所取代，金錢交易取代時間交換，但聽音樂仍需重複付費，唱片允許我們堆積重複付費的時間，So repetition eliminates use-time.
美學上，其結果是反覆的音樂，顛覆的音樂成了重複的商品，價錢一致， Music
is "colonized, sanitized." (109)
Value is now dependent on an 人為的區分，由行銷系統來完成， 賦予短暫的區別 (relative value). (108)
音樂愈來愈僅是背景噪音，使文化的一致性愈來愈容易，特殊文化成為稀有
Music
分為兩類，彼此完全對立
- 大眾音樂Mass music. Harmonically,
popular music is very traditional. It simply recycles what was done in
the classical period (Bach to Schoenberg). Muzak reveals the basic
character of this music.
- 學術音樂Learned music. The serious
musician 嚴肅音樂家逃離大眾音樂的傾向, 尋找完全與大眾音樂對立型式. 類似西方科學主義的研究的方向, their musical "discourse becomes non-localizable."
This attempt at the universal produces 失去人性毫無意義的聲響. (113)完全是金字塔頂尖人物的玩意 It is elitist.
(115)
The emergence of the two types is supported by the
increasing social control of noise. (122-24)
As supply routinely exceeds the possibility of
consumption, 我們以貨物的堆積來評斷他的價值we value
the activity of stockpiling instead of the activities themselves. 使用時間的剔除，預示死亡The elimination of use-time is the herald of death. (125-30) What was
first true in music comes to dominate all of life's activities (126), e.g.,
entertainment, food, health care. (130)
[This
"herald of death argument" is a stretch. (125) Attali seems to
think that because music originally symbolized ritual murder, all music
always symbolizes the ritual murder of the scapegoat. So to change the
political economy of music is just to change the way this murder is
ritualized, and because we now "use" music by stockpiling it, we
are therefore stockpiling death. I am reminded of the movie Moonstruck,
in which we discover that men are unfaithful to their
wives because they fear death.]
當我們愈來愈相似時，暴力增加，因為慾望的出口愈來愈少 find fewer and fewer outlets for our desires. (130-31)
偏離就興起了，Deviations arise (盜版，盜播),
suggesting a radical subversion of the system of stockpiling. (131)
我們聽到了新的噪音 (創作音樂的新方法), 提示了新的社會的出現. (133)
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In Brueghel's painting,
以圓舞象徵作曲，與外界隔開， 舞者自己自製音樂，為了自己的快樂，非商業音樂預示了後資本主義的未來. This noncommercial music prophecies a post-capitalistic future. |
新的活動不是為了交換或使用的價值而舉行, 純粹只是製造者個人的娛樂. 如此的活動徹底的顛覆了之前音樂中專家分工的角色(作曲家, 表演者, 聽眾). (135)
這樣活動完全是局部的地方性的, 小社區為小社區而做. 消費與製造沒有明顯的區分.
後記
This outline was written by Theodore Gracyk and partially translated by
Ruey Yen.