区隔与流动:音乐趣味阶层特征的社会学批判  

Differentiation and Flow:A Sociological Critique of the Characteristics of Music Interest Classes

作　　者：王文卓[1] Wang Wenzhuo

机构地区：[1]山西师范大学音乐学院,山西太原030031

出　　处：《南京艺术学院学报（音乐与表演版）》2024年第5期61-65,I0002,I0003,共7页JOURNAL OF NANJING UNIVERSITY OF THE ARTS:Music & Performance

基　　金：2023年度国家社科基金艺术学重点项目“生态艺术学建构研究”(项目编号:23AA001)的阶段性成果。

摘　　要：布尔迪厄认为,音乐趣味能清晰地表征人群的阶层特征。朗西埃批判了布尔迪厄的社会学研究,尤其针对他的趣味区隔逻辑予以深刻反思。基于对朗西埃“歧感”的阐发,我们能在音乐趣味的流动性问题上获得更深认识。历时地看,特定阶层音乐趣味的形成的确与场域规训有紧密联系,但同时具有向新求异的主动性和流动性。随着我国数字技术的普及、全球化进程的加快,中国人的音乐趣味显示出前所未有的复杂性。在当代中国语境中,探讨音乐趣味与社会分层的关系有重要意义。Bourdieu believed that musical interests can clearly represent the class characteristics of a population.Rancière criticized Bourdieu's sociological research,particularly reflecting deeply on his logic of differentiating interests.Based on the analysis of Rancière's"dissensus",we can gain a deeper understanding of the fluidity of musical interest.From a historical perspective,the formation of musical interests in specific social classes is indeed closely related to field discipline,but at the same time,it has the initiative and fluidity to seek novelty and diversity.With the popularization of digital technology and the acceleration of globalization in China,Chinese musical interests show unprecedented complexity.Exploring the relationship between musical interest and social stratification is of great significance in the contemporary Chinese context.

关 键 词：音乐趣味 区隔 变革 流动 

分 类 号：J601[艺术—音乐] J60-05