“唱作人”作为方法——论流行音乐的原真性和作者性

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

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。

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 investment of 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 that is constructed from both aesthetic and socialogical factors.By analyzing the thickening process of authorial 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'.