In the summer of 2017, an opinion piece in The Guardian by the writer and theatre-maker Stella Duffy attracted an unusual degree of interest among British musicians and musicologists.1 Duffy’s piece was prompted by the publication of a new report, ‘Towards Cultural Democracy’, the outcome of a research project at King’s College London.2 Noting the report’s starting point in ‘the deep and widespread political division expressed through the 2016 EU referendum campaign and vote’, Duffy enthusiastically endorsed its recommendations for a root-andbranch reform to UK cultural policy, aimed at redirecting arts funding towards the facilitation of ‘everyday creativity’ – the diverse cultural and creative activities pursued by ordinary people which exist separately from, and are usually ignored by, both the art-world and commerce. Not the least reason to embrace such reform, Duffy contended, was its being a means of overcoming ‘the divisions we are now experiencing’. Criteria of ‘excellence and quality’ in the arts had for too long reflected ‘mainstream, metropolitan-based thinking’, producing ‘exclusivity and a stratified culture’ of which we are now ‘living the violent results’. The solution, Duffy argued, was to support work ‘allowing everyone to join in, not simply as audiences and consumers,

中文翻译：

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音乐相辅相成：论民主社区

达菲认为，接受这种改革的最不重要的原因是它是克服“我们现在正在经历的分歧”的一种手段。艺术中“卓越和品质”的标准长期以来反映了“主流的、以大都市为基础的思维”，产生了“排他性和分层文化”，而我们现在正在“生活在暴力的结果中”。达菲认为，解决方案是支持“让每个人都参与进来，而不仅仅是作为观众和消费者，