ABSTRACT

Listening to music might make one tremble, cry or get up and dance in response. Musical feelings might spread from listener to listener in a hard to pin down but nevertheless palpable ‘emotional contagion’. While theorising emotion, feeling or sentiment in relation to the social life of music and sound is not new, for the most part, scholars in music and sound studies have been relative late comers to the contemporary conversation on affect theory. In this essay, I place two academic turns in productive alignment, an ‘affective turn’ and a turn in ethnomusicology, the anthropology of music and sound and the interdisciplinary field of critical sound studies to the study of listening and aurality. What might methodological approaches gleaned from the anthropology of music and sound lend to theorizations of method for the anthropology of emotion and affect? In what ways is affect rendered audible as an object of analysis in the process of doing ethnography? Focusing on analyses of select audio-visual field recordings, I ask, how can we listen for affect? And what theoretical and methodological considerations might emerge when we do?

摘要

听音乐可能会使人发抖，哭泣或起身跳舞。音乐的感觉可能会在听众之间传播，很难被抓住，但仍然可以感受到“情感传染”。尽管理论上关于音乐和声音的社会生活的情感，感觉或情感并不是什么新鲜事物，但是在大多数情况下，音乐和声音研究的学者相对于当代有关情感理论的对话而言是相对较晚的。在本文中，我将两个学术转折点放在生产性对齐上，一个“情感转折点”和一个民族音乐学转折点，音乐和声音的人类学转折点以及批评性声音研究的跨学科领域转移到听觉和听觉的研究中。从音乐和声音的人类学中可以学到什么方法论方法，以用于情感和情感人类学方法论的理论化？在民族志学过程中，以何种方式将可听见的影响作为分析的对象？我想着重分析选定的视听记录，我们如何聆听影响？当我们这样做时，可能会出现什么理论和方法上的考虑？