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• 西方文论与文化研究 • 上一篇    下一篇

“唱作人”作为方法——论流行音乐的原真性和作者性

曲舒文, 李丹舟   

  1. 深圳大学创新型城市建设与治理研究中心
  • 出版日期:2019-01-25 发布日期:2019-04-29
  • 作者简介:曲舒文，哲学博士，暨南大学深圳旅游学院助理教授，主要研究方向为流行音乐与文化研究。 李丹舟，哲学博士，深圳大学创新型城市建设与治理研究中心助理教授。
  • 基金资助:
    本文系广州市社科联2018年度“羊城青年学人”资助项目[项目编号：18QNXR15]，深圳市哲学社会科学“十三五”规划课题资助项目[项目编号：SZ2018B029]，广东省教育厅青年创新人才项目资助[项目编号：2017wqncx008]，中央高校基本科研业务费专项资金资助项目“数字时代下中国独立音乐的生产机制研究”[项目编号：17JNQN006]的阶段性成果

"Singer-songwriter" as Method: On Authenticity and Authorship of Popular Music

Qu Shuwen, Li Danzhou   

  1. Shenzhen Tourism College of Jinan University
  • Online:2019-01-25 Published:2019-04-29
  • About author:Qu Shuwen, Ph. D., is an assistant professor in the Shenzhen Tourism College of Jinan University, with research focuses on Popular Music and Cultural Studies. Li Danzhou is Ph. D., is an assistant professor at Shenzhen University.
  • Supported by:
    “Yangcheng Young Scholars” of Guangzhou Social Sciences Association(No. 18QNXR15), the 13th Five-Year Project Fund for Shenzhen Philosophy and Social Science Research(No.SZ2018B029), the Youth Innovative Talents Project of Guangdong Provincial Education Department(No. 2017wqncx008), and the Fundamental Research Funds for Central Universities (No. 17JNQN006)

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摘要： 流行音乐工业发展的原动力是构建和更新“原真性”意涵。单数形态的“唱作人”形象由于看似集中了所有作者声音，能够召唤高浓度原真性想象，一直是流行音乐工业生产和消费过程中的有效策略。通过比较凯特利（Keir Keightley）论及的“两股哲学思潮”与弗里斯（Simon Frith）提出的“三种话语”，指出流行音乐的“原真性”议题是纠缠于美学和社会学两条脉络的价值判断。分析“唱作人”作者声音的增厚过程，一方面再现了流行音乐原真性意识形态的内部张力，另一方面也指出唱片时代稳定的、等级的“作者性”认定方式在数字时代面临着新挑战。文末引入内格斯（Keith Negus）的“解绑”概念尝试提出理解“作者性”问题的开放理论视角。

关键词: 唱作人, 原真性, 作者性, “解绑”, 音乐人IP, 流行音乐

Abstract: The construction and renewal of "authenticity" is the driving force for the development of the music industry. Given the prevalent impression of the singular authorial role seemingly integrating all the author voices, which conjures up heightened authenticity, "singer-songwriter" has always been an effective strategy in the production and consumption of popular music. Through a comparative analysis of Keightley's "two schools of philosophy" and Frith's "three discourses" in understanding musical authenticity, this paper concludes that the nature of authenticity is a matter of value judgment concerning aesthetics and sociology. By analyzing the thickening process of author voices in the formation of "singer-songwriters", the paper presents the aesthetic/sociological tensions embedded in the ideology of authenticity and reveals that the stable and hierarchical judgment of authorship in record time faces new challenges in digital era. The final part introduces Negus' "unbundling" concept to shed light on this issue and offers a wider perspective in the understanding of "authorship".

Key words: singer-songwriter, authenticity, authorship, "unbundling", musician IP, popular music