Thea Astley is a figure who is strongly associated with music, both in her life interests and in her writing rhythms and allusions; this article investigates the uses of music in her 1972 novel The Acolyte . Drawing on a recent genre of critical musicology that understands music to be a social practice, The Acolyte is read in relation to mid-twentieth-century cultural debates around the development of a distinctive Australian classical music. Centring on the blind pianist turned composer Jack Holberg, The Acolyte is grounded in the Gold Coast hinterland as an inspiring and generative landscape, in contrast with the desolate outback favoured in national mythologies. Holberg’s ‘Gold Coast Symphony’, arguably the turning point of the novel, imaginatively writes this coastal fringe of urban debauchery into the vernacular of classical music through its performance in conservative 1960s Brisbane. In this article, I read The Acolyte as a novel positioned within an Australian musicological history that intersects with the poetics of place, the politics of gender and sexuality, and ongoing national formations through cultural production.

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阅读 Thea Astley 的 The Acolyte 中的“黄金海岸交响曲”

Thea Astley 是一个与音乐密切相关的人物，无论是在她的生活兴趣还是在她的写作节奏和典故上；本文调查了她 1972 年的小说《追随者》中音乐的使用。借鉴最近将音乐理解为一种社会实践的批判音乐学流派，《追随者》的阅读与二十世纪中叶围绕独特的澳大利亚古典音乐发展的文化辩论有关。以盲人钢琴家出身的作曲家杰克霍尔伯格为中心，The Acolyte 位于黄金海岸腹地，是一个鼓舞人心和富有创造力的景观，与国家神话中偏爱的荒凉内陆形成鲜明对比。霍尔伯格的《黄金海岸交响曲》，可以说是小说的转折点，通过在保守的 1960 年代布里斯班的表演，富有想象力地将这种沿海城市放荡的边缘写入古典音乐的方言中。在这篇文章中，我将《追随者》读为一部定位于澳大利亚音乐史的小说，它与地方诗学、性别和性政治以及通过文化生产正在进行的民族形成相交融。