Cinderell'o' in Music: Musical Representation of Plural Masculinities and Internal Hegemony in L'Apprenti sorcier

音樂中的「灰公子」：《魔法師的學徒》中多重男性氣概與內在霸權的音樂再現

Chuang, Sheng-Hsuan(莊聖玄)

Music and Masculinity Studies ； L'Apprenti sorcier ； Music and Literature ； Masculinities ； Music and Gender ； 音樂與男性氣概研究 ； 《魔法師的學徒》 ； 音樂與文學 ； 男性氣概 ； 音樂與性別

關渡音樂學刊

37期（2023 / 09 / 01）

181 - 193

英文;繁體中文

In recent decades, musicologists worldwide have been dedicated their efforts to exploring 'Cinderellas' in music history, shedding light on underrepresented and marginalised figures. Taiwanese musicologists also joined this trend, albeit somewhat later, starting in the 1980s. With the burgeoning development of masculinity studies, Western musicologists began examining Cinderell'o's, who, like their counterparts, are positioned as the other within a patriarchal context. However, in Taiwanese musicological scholarship, Cinderellos have received limited attention and scrutiny until now. Against this backdrop, this paper aims to introduce a masculinity lens to the field of musicology in Taiwan by conducting a case study on the musical representation of plural masculinities and manifold masculinity issues through one prominent Cinderello: the apprentice in L'Apprenti sorcier: Scherzo d'après une ballad de Goethe (1897) by French composer Paul Dukas (1865-1935). This article draws on a musical hermeneutics and semiotics of masculinity to examine the interplay of masculinity symbols within the musical case, while also emphasising the inextricably intertwined relationship between music and literature. It addresses two main inquiries: Firstly, it explores how Dukas, as the middleman between music and literature, employs his narrative strategies and the sui generis musical logic to transform literature into music. Secondly, it delves into how the composer represents different masculinities and their interactions through diverse musical codes in the various layers of musical structure. In addition to referencing prominent masculinity theories like Raewyn Connell's 'hegemonic masculinity' and Demetrakis Demetriou's 'internal hegemony', this essay incorporates relevant concepts from narratology to establish a more comprehensive critical approach for interpreting the interaction of gendered semiotic codes in L'Apprenti sorcier. Through contrapuntally reading the literature and music, then focusing on the leitmotivs, sonata form, musical development, and the final cadence, it becomes evident that the apprentice's transgressive attempts are destined to be futile. This outcome is not solely due to adherence to the original story but also a consequence of the established formats of Western art musical development. Deliberately, Dukas appropriates and further transforms the repeatedly used musical codes representing male and female binaries into those of hegemonic and subordinated masculinities, skilfully weaving these symbols together to reinforce contrasting images and sharp interactions between characters with different masculinities throughout the composition. Scrutinising from an interdisciplinary critical perspective, we come to understand the plight of the miserable apprentice. However, we find ourselves unable to fully sympathise with him as there are more Cinderellos in different musical scenes awaiting our attention and rescue.

回顧過往數十餘載，音樂學者致力於探索音樂史中的「灰姑娘」，而臺灣則於1980年代加入此一行列。隨著男性氣概研究的蓬勃發展，西方的音樂學者亦逐漸留意同被置放於父權社會中他者地位的「灰公子」，然而，截至目前為止，臺灣的古典音樂學界卻對此議題僅有零星著墨。呼應上述背景，本研究旨在於介紹男性氣概之研究視角進入台灣之音樂學領域，以音樂作品中一位知名的灰公子──法國作曲家杜卡（1865－1935）的《魔法師的學徒》（1897）──為個案，探究作品中複數男性氣概及其衍生之諸多男性議題的音樂再現。融合音樂詮釋學與男性氣概符號學，本研究不僅欲探討本音樂案例中男性氣概符號的互動，亦希冀審視這部音樂作品與文學緊密糾纏的關係。上述目標可具現化為兩項核心議題：其一，身為音樂與文學的「中間人」，杜卡如何運用其音樂敘事策略及獨樹一幟的音樂邏輯將文學轉化為音樂？其次，作曲家如何使用音樂符碼與多樣的音樂素材、於不同層次的音樂結構中再現不同的男性氣概類型及其他男性議題？為建構更完整的批判取徑以詮釋《魔法師的學徒》中性別符碼之互動，本文除採納男性氣概理論（康奈爾的「霸權男性氣概」及狄米崔之「內在霸權」）外、尚援引部分敘事學與性別理論。藉由文學與音樂的對位式閱讀，加之以觀察音樂內部之主導動機、奏鳴曲式、音樂發展及樂曲末尾之終止式等，學徒因踰越之嘗試而導致的失敗不單是服膺於文學文本，其必然更源自於古典音樂中音樂發展之傳統範式。於本曲中，杜卡挪用為彰顯男／女二元差異而被反覆使用的音樂符碼，並將其轉化為霸權／從屬男性氣概之符號，交織配置各種音樂參數以反覆強化對比性的形象與帶有相異男性氣概特質之角色（掃帚／學徒）間的尖銳互動。透過跨學科的批判視角，我們得以發現這名命運乖舛的學徒，但我們無法停下憐憫他，因為尚有諸多音樂中的灰公子還在等著我們拯救呢！

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