ABSTRACT Theorising the relationship between music and affect is nothing new; scholars have long engaged the ways music expresses and influences emotions and bodily intensities. Why is it, then, that (ethno)musicologists now find themselves following rather than leading a theoretical debate that adopts so many concepts we have used for generations: intensity, embodiment, performance, resonance? This Special Issue will draw on (ethno)musicological literature that anticipated the contemporary resurgence of affect theory, and also call for an intervention in which fine-grained, ethnographically informed analysis can newly invigorate theories about the inbetweenness and intensity of encounter. The interpositions we propose centre on three ethnomusicological concepts that complicate, nuance, and refine affect theory: interpretation, resonance, and embodiment. The introduction will explicate these theoretical propositions, and the following articles will ground those concepts in fieldwork and musical particulars. The broad-ranging articles will discuss electronic dance music in Berlin, nineteenth-century operatic voices in the USA, tambura music in the USA, and musical experiences of grief. These studies will investigate and critique both affect theory and ethnomusicological methods and analysis.

中文翻译：

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诠释、共鸣、体现：影响理论和民族音乐学

摘要 将音乐与情感之间的关系理论化并不是什么新鲜事。长期以来，学者们一直致力于研究音乐表达和影响情绪和身体强度的方式。那么，为什么（民族）音乐学家现在发现他们正在追随而不是领导一场采用了我们几代人都使用过的许多概念的理论辩论：强度、体现、表演、共鸣？本期特刊将借鉴（民族）音乐学文献，这些文献预测了当代情感理论的复兴，并呼吁进行干预，在这种干预中，细粒度的、民族志知情的分析可以为关于相遇的中间性和强度的理论注入新的活力。我们建议的插入集中在三个民族音乐学概念上，这些概念使情感理论复杂化、细微差别和精炼：解释、共鸣、和体现。引言将解释这些理论命题，接下来的文章将以实地考察和音乐细节为基础。这些内容广泛的文章将讨论柏林的电子舞曲、美国的 19 世纪歌剧声音、美国的坦布拉音乐以及悲伤的音乐体验。这些研究将调查和批判影响理论和民族音乐学方法和分析。