Traditionally, explicit discussion of listeners’ bodies and personal experiences does not often appear in the realm of music analytical observations. One of the reasons for this omission is the masculinist bias that, prior to the 1990s, characterized much of the field, and that tended to dismiss metaphorical language, overtly subjective musical descriptions, and the role of the body in musical practices all at once. A primary goal of feminist music theory has been to combat this bias by acknowledging many different kinds of bodily experiences as vital to music analysis. In this paper, I suggest an analytical approach that examines interactions between human movement and music in detailed terms, in service of a feminist aim to take bodies seriously. Specifically, I aim to show how music-analytical a+ention can be productively directed towards the performing bodies that move to music in multimedia pieces by offering a close reading of a music video by the rapper Tyler, The Creator. My analysis focuses on the relationship between Tyler’s movement and the music and on this relationship’s role in informing ways that we might read his self-positioning and identity formation. In so doing, I hope to flesh out a new feminist approach to analysis. This approach centralizes the role of moving bodies, acknowledges the subjective nature of listening experiences, and examines, primarily by way of queer theory, political potentials inherent to the movement-music interaction. Volume 23, Number 2, June 2017 Copyright © 2017 Society for Music Theory [1] When I hear music, I am very likely to move my body. Listening to a favorite piece of mine, I might draw my chest inwards slowly, sinking into a compelling bass line, or jerk my knee slightly

中文翻译：

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运动、音乐、女权主义

传统上，对听众身体和个人经历的明确讨论并不经常出现在音乐分析观察领域。这种遗漏的原因之一是在 1990 年代之前，该领域的大部分领域都存在男性主义偏见，这种偏见往往会同时忽视隐喻性语言、明显主观的音乐描述以及身体在音乐实践中的作用。女权主义音乐理论的一个主要目标是通过承认许多不同类型的身体体验对音乐分析至关重要来对抗这种偏见。在这篇论文中，我提出了一种分析方法，详细地研究人类运动和音乐之间的相互作用，以服务于女权主义者认真对待身体的目标。具体来说，我的目标是通过提供对说唱歌手 Tyler, The Creator 的音乐视频的仔细阅读，展示音乐分析 a+ention 如何有效地指向那些在多媒体作品中转向音乐的表演机构。我的分析侧重于泰勒的动作与音乐之间的关系，以及这种关系在告知我们可能会阅读他的自我定位和身份形成的方式方面的作用。这样做，我希望充实一种新的女权主义分析方法。这种方法集中了运动身体的作用，承认聆听体验的主观性，并主要通过酷儿理论来检验运动与音乐互动固有的政治潜力。Volume 23, Number 2, June 2017 版权所有 © 2017 Society for Music Theory [1] 当我听到音乐时，我很可能会移动我的身体。