Leisure and Musical Genres: Some Remarks on the Sociology of Cultural Legitimacy

休閒與音樂類型：文化正統性之社會學探析

10.7065/MRPC.201009.0075

艾斯特班•布赫(Esteban Buch)

音樂類型 ； 休閒 ； 文化正當性 ； 布迪厄Pierre Bourdieu ； 彼得森Richard Peterson ； 馬里內蒂Marinetti ； Musical Genres ； Leisure ； Cultural Legitimacy ； Bourdieu ； Peterson ； Marinetti

哲學與文化

37卷9期（2010 / 09 / 01）

75 - 89

英文

各種音樂類型系統，因其含有隱性或顯性等極制度，因而得以被論述為社會階級系統的鏡像：窮人有窮人的音樂，富人得享人的富裕的時光，而介乎二者之間的則是形形色色的中產階級，其中包括布迪厄(Pierre Bourdieu)所謂的「文化善向」(”cultural goodwill”)。不過，此一圖像描繪並不完全正確。早在後現代主義據稱導致文化等級制度傾頹數年之前，什麼音樂都聽的情形就已盛行，人們大量消費各種不同類型的作品(Peterson)。1913 年未來主義詩人馬里內蒂(Marinetti)宣言：「打倒探戈與怕西法爾」(A bas le tangoet Parsifal!)，當時他所針對的並不是社會階級之間的對立，而是指在菁英文化的實踐中各種不同類型的匯集。就休閒的社會學而言，認為類型區分的此項較彼項為佳的說法，是沒道理可言的，即使二者的影響與享譽各有不相同。至少是在西方社會中，我們需要創作出各種不同種類的音樂，以取悅於相同的大眾，或至少讓大眾有可供娛樂的消遣。而且我們也需要各種不同的音樂類型，才能承受得起大眾體會到的各種不同的傷痛和絕望之情。或許正是這一點，而不是什麼內在、技術的道理，才是使各種不同類型的音樂得以居於首位的理由。因此之故，才得以主張，除非得以先審視各種音樂類型皆參入一角的休閒活動，否則各種音樂類型系統的論述無以為之。

It has been argued that the system of musical genres, with all its implicit or explicit hierarchies, is a mirror of the system of social classes: the poor get poor music, the rich get the rich hours of humanity, and between the two stand the middle classes, indulging in what Pierre Bourdieu called the ”cultural good will”. Yet that picture is not fully accurate. Many years before postmodernism and the fading of cultural hierarchies that it supposedly brought, the situation was already to some extent that of a domination of the omnivorous kind, the people who consume different kinds of generic products (Peterson). When in 1913 the Futurist poet Marinetti said ”A bas le tango et Parsifal!”, he was not pointing to a cultural opposition between social classes, but to a convergence of genres in the practices of the elite. And for a sociology of leisure, there is no reason to say that this or that side of the generic divide is more legitimate than the other, even if both do not have the same influence and prestige. In Western societies at least, we need different kinds of music to make the same people happy or, at least, to let them play the game of trying to be happy. We also need different types of music to make them live through the multiple experiences of sadness and despair. This, rather than some kind of inner, technical logic, is probably the reason why there are different kinds of music in the first place. And this is why it can be argued that the system of musical genres cannot be described without looking at the kind of leisure activities in which every one of them plays a part.

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