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文艺理论研究 ›› 2024, Vol. 44 ›› Issue (3): 173-183.

• 现当代文论与文化研究 • 上一篇    下一篇

聆听的颠覆性:平台音综《乐队的夏天2》的阴性噪音与声音政治

曲舒文   

  • 出版日期:2024-05-25 发布日期:2024-07-16
  • 作者简介:曲舒文,哲学博士,暨南大学新闻与传播学院副教授,主要研究方向为流行音乐与文化研究。
  • 基金资助:
    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。

The Disruptive Nature of Listening: Feminine Noises and Sound Politics in the Platform Music Show The Big Band 2

Qu Shuwen   

  • Online:2024-05-25 Published:2024-07-16
  • About author:Qu Shuwen, Ph.D., is an Associate Professor in the School of Journalism and Communication, Jinan University. Her research focuses on popular music and cultural studies.
  • Supported by:
    Chinese Fundamental Research Funds for the Central Universities (332202312623657).

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。

关键词: 阴性噪音, 平台音综, 身体性, 韧性生命政治, 平滑美学, 《乐队的夏天2》

Abstract: 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.

Key words: feminine noise, platform music show, bodily, resilient biopolitics, smooth aesthetics, The Big Band 2