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The country and Irish problem
Popular Music Pub Date : 2021-03-19 , DOI: 10.1017/s0261143020000550
Stan Erraught

Country music has been popular in Ireland since the 1960s, most notably in the work of homegrown performers. Despite the durability of this appeal in the face of huge changes in Ireland and in the Irish music industry over a half-century, it remains curiously underexamined in the literature on Irish popular music. In this paper, I wish to argue the following: (1)Country music did not simply arise ‘naturally’ in Ireland as a reflection of musical or national characteristics: it was promoted as such.(2)Both popular and academic literature on the subject have tended to unreflectively echo the narrative that was introduced alongside the music in order to fix its audience.(3)In so doing, the literature reproduces a set of anxieties about modernity as it arrived in Ireland, about the postcolonial condition and about authenticity, even as it attempts to locate Irish popular music within these concerns.

中文翻译:

国家和爱尔兰问题

自 1960 年代以来,乡村音乐一直在爱尔兰流行,尤其是在本土表演者的作品中。尽管面对爱尔兰和爱尔兰音乐产业半个多世纪的巨大变化,这种吸引力持续存在,但奇怪的是,它在爱尔兰流行音乐的文献中仍未得到充分检验。在这篇论文中,我想论证以下几点:(1)乡村音乐在爱尔兰并不是简单地“自然地”出现,作为音乐或民族特征的反映:它是这样被推广的。(2)关于该主题的流行和学术文献都倾向于不加思索地呼应与音乐一起引入的叙述,以固定其听众。(3)在这样做的过程中,文学再现了对现代性到达爱尔兰时的一系列焦虑,对后殖民条件和对真实性的焦虑,即使它试图将爱尔兰流行音乐置于这些担忧之中。
更新日期:2021-03-19
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