ABSTRACT How do young people living in social exclusion in Venezuela negotiate their deep personal attachment to classical music and the genre’s association with dominant European culture? I approach this topic through my ethnographic fieldwork with young musicians who are members of Venezuela’s nation-wide classical music program El Sistema. The majority of these musicians are from the lower social classes in an unequal society deeply divided along the intersecting lines of race, ethnicity, and class. Transposing Deleuze and Guattari’s concept of minor literature to music, I propose the notion of ‘minor music’ to explore the relationship between classical music practices, social exclusion, and aspiration. Minor music sheds light on how people on the margins of society inhabit dominant identities strategically, critically, and by making them ‘their own.’ Through a focus on the experiences of the young performers, I explore how they may articulate an individual and collective self within and through the medium of dominant categories. This has the simultaneous effect of both reproducing deep-rooted ethno-racial and economic hierarchies, while also infusing dominant identities with contrary forms of creativity and meaning embedded in the musicians' marginal social positions.

中文翻译：

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柴可夫斯基是我们的：”委内瑞拉（Bar委）的次要音乐实践

摘要委内瑞拉生活在社会排斥中的年轻人如何与古典音乐以及与欧洲主流文化的流派联系，深化个人的依恋感？我通过民族志调查与委内瑞拉全国古典音乐计划El Sistema成员中的年轻音乐家一起探讨了这个主题。这些音乐家中的大多数来自不平等社会中的下层社会阶层，沿着种族，种族和阶级的相交线深深地分裂在一起。通过将德勒兹（Deleuze）和瓜塔里（Guattari）的次要文学概念转变为音乐，我提出了“次要音乐”的概念，以探索古典音乐实践，社会排斥和追求之间的关系。小型音乐为人们在社会边缘如何策略性地，批判地，占据主导地位的身份提供了启示，并使其成为“自己的”。通过关注年轻表演者的经历，我探索了他们如何在主导类别中并通过主导类别表达出个人和集体自我。这既产生了根深蒂固的民族种族和经济等级制度，又注入了主导身份，而相反的创造力和意义却被植入了音乐家的边缘社会地位，这同时产生了效果。