社会符号、音乐话语和意识形态:多模态批评视角

Social Semiotics, Musical Discourse and Ideology: Multimodal Critical Perspectives

近代音乐研究多采用印象主义对音乐进行描写,忽视了音乐作为社会符号的本质,淡化了音乐话语在社会交际中的重要地位。多模态批评话语分析也因为模态等同性、功能普遍性和交际独立性等各种弊端给音乐研究带来了误区。有鉴于此,本文从社会符号学的角度重新建构音乐话语。本文指出,音乐话语能够通过表征模态符号的所指产生概念意义;能够通过表征事体、背景和场,拉近或疏远听众,产生人际意义;音乐话语的交际具有象似性、同时性和单向性的特征。与此同时,本文提出意识形态是音乐话语的本质特征之一;其模态符号具有系统性和体裁多样性的特点。而其中表征(不)平等的模态符号是一个对立的二元体,表征男(女)权主义的模态符号具有多元性的特征,表征(非)个人主义的模态符号是一个渐变体。

The prevalence of impressionistic description in modern musical researches has not only neglected the semiotic essence of music,but also underestimated the significance of musical discourse in social communication. Meanwhile,limitations in multimodal critical discourse analysis (MMCDA),such as modality equality,function generalization,and communication independence,have also led to misconceptions. In light of this,this paper aims to reconstruct musical discourse from a semiotic perspective. It is pointed out that while representations of the modified can convey ideational meanings,representations of figures,backgrounds and fields can position the audience for interpersonal meanings. It argues that communication in musical discourse possesses characteristics of iconicity,simultaneousity and unidirectionality. It claims that ideology is one essential characteristic of musical discourse,whose semiotic representations demonstrate systematicity of semiotics and multiplicity of genres. While representation of (in-)equality is a duality,representation of chauvinism-feminism is a multiplicity and representation of (non-)individualism is a continuum.