被支配的“音乐女性”?——音乐之爱欲支配性的本构逻辑批判

“Musical Woman”under the Dominance?Constitutive Logical Criticism on the Dominance of the Lust in Music

女性在音乐史上具有重要的地位,但是相对于男性音乐家的繁星璀璨,女性音乐家则稍显黯淡。在父权制的“支配性”格局之下,更体现出一种“男性—支配”和“女性—被支配”的关系。“男性—支配”意义下的女性地位反映为男性“爱音乐”的爱欲的宣泄对象和规制对象,被评判为相较于男性“爱音乐”的爱欲能力低下和爱欲层次低能的、不能从事大型音乐和高雅乐理创造的世俗者,更被摆置成面对“支配”而妥协了的“表演者”。对于上述的地位,从本质上来说,“音乐”和“爱欲”在道德上并不具有相关性,“雅俗”的判断不属于音乐而是来源于政治支配的武断逻辑,“表演”之中的妥协并不是由于“必然性”,而仅是由于“强力”的客观存在而自我保全的无奈之举。

“Women”have played an important role in the history of music,but compared to the stars of male musicians,female musicians have been overshadowed.Under the“dominant”patterm of the patriarchy,the dominant pattem in contemporary popular culture is more manifested as a“male-dominated”and“femal-be-dominated”relationship.Women's starus in the sense of“male-dominated”pattern is manifested as the vented and regulated object of the lust of male's“love music”,and judged as the laity compared to male's“love music”with low ability to love and low level of lust,and cannot be engaged in the creations of large music and elegant music theories,moreover be placed as the compromised“performer”facing up to the“dominance”.In essence,“music”and“lust”is not relevant morally,and the judgment of“elegance and vulgarity”does not belong to music but originate from the arbitrary logic of political dominance.The compromise in the“performance”is not due to the“Ieessity”,but only a reluetant action of sll-preservatin,which is 1o deal with the objecive existence uf the“furee”.