SECTION 3

SUPERVISOR: Hi, Joanna, good to meet you.

导师：嗨，乔安娜，很高兴见到你。

Now, before we discuss your new research project, I'd like to hear something about the psychology study you did last year for your Master's degree.

在我们讨论你的新研究项目之前，我想听听你去年那篇关于心理学研究的硕士论文。

So how did you choose your subjects for that?

你是如何挑选你的研究对象的？

JOANNA: Well, I had six subjects, all professional musicians, and all female.

乔安娜：我有六个研究对象，她们都是职业女性音乐家。

Three were violinists and there was also a cello player and a pianist and a flute player.

三名小提琴家、一名大提琴家、一名钢琴家和一名长笛演奏家。

They were all very highly regarded in the music world and they'd done quite extensive tours in different continents, and quite a few had won prizes and competitions as well.

她们在业界都很受尊重，而且在世界各地都参加了很多演出。有些人还获得了奖项。

SUPERVISOR: And they were quite young, weren't they?

导师：而且她们都很年轻，对吧？

JOANNA: Yes, between 25 and 29 - the mean was 27.8.

乔安娜：是的，都是在25-29岁之间，平均年龄是27.8岁。

I wasn't specifically looking for artists who'd produced recordings, but this is something that's just taken for granted these days, and they all had.

当时我并没有特意挑选那些出过专辑的音乐家，但是现在已经可以考虑这个条件了，因为她们都出过专辑。

SUPERVISOR: Right. Now you collected your data through telephone interviews, didn't you?

导师：好。你通过电话访谈收集你的数据，对吗？

JOANNA: Yes. I realised if I was going to interview leading musicians it'd only be possible over the phone because they're so busy.

乔安娜：是的。我觉得只有通过电话才能实现我的访谈内容，因为她们都太忙了。

I recorded them using a telephone recording adaptor.

我利用电话录音记录了访谈内容。

I'd been worried about the quality, but it worked out all right.

我之前还担心录音质量，但是听起来还不错。

I managed at least a 30-minute interview with each subject, sometimes longer.

我每个人都设计了至少30分钟的访谈内容，有的更长一些。

SUPERVISOR: Did doing it on the phone make it more stressful?

导师：电话沟通会不会更紧张一些？

JOANNA: I'd thought it might ... it was all quite informal though and in fact they seemed very keen to talk.

乔安娜：我原本也是这么认为的……因为不是正式的访谈形式。但是她们还都挺健谈的。

And I don't think using the phone meant I got less rich data, rather the opposite in fact.

我不认为电话沟通就会比面对面沟通收集的数据少，而事实正相反。

SUPERVISOR: Interesting. And you were looking at how performers dress for concert performances?

导师：有意思。你还研究这些人在音乐会表演中怎样穿戴？

JOANNA: That's right.

乔安娜：是的。

My research investigated the way players see their role as a musician and how this is linked to the type of clothing they decide to wear.

我想研究表演者如何看待她们作为音乐家这个角色，如何通过穿着表现出来。

But that focus didn't emerge immediately.

但是这点并没有很快地显示出来。

When I started I was more interested in trying to investigate the impact of what was worn on those listening, and also whether someone like a violinist might adopt a different style of clothing from, say, someone playing the flute or the trumpet.

刚开始时，我更倾向于研究穿着对听众的影响，以及像小提琴演奏家这样的人是否会选择与长笛演奏家或小号吹奏家截然不同的服装风格。

SUPERVISOR: It's interesting that the choice of dress is up to the individual, isn't it?

导师：挺有趣的，他们的穿着其实是由自己决定的，对吗？

JOANNA: Yes, you'd expect there to be rules about it in orchestras, but that's quite rare.

乔安娜：是的，你以为是由乐队规定着装的，其实他们很少有这样的规定。

SUPERVISOR: You only had women performers in your study.

导师：你的研究里只有女性音乐家。

Was that because male musicians are less worried about fashion?

是因为男性音乐家对时尚不是很在意吗？

JOANNA: I think a lot of the men are very much influenced by fashion, but in social terms the choices they have are more limited ...

乔安娜：我想很多男性音乐家都很时尚。但是因为社会原因，他们在演出时可选择的局限性太强了。

they'd really upset audiences if they strayed away from quite narrow boundaries.

如果他们没有限制的着装，观众会感觉很混乱。

SUPERVISOR: Hmm. Now, popular music has quite different expectations.

导师：嗯。现在流行乐的着装要求可与传统音乐差别大了很多。

Did you read Mike Frost's article about the dress of women performers in popular music?

你读过麦克弗罗斯特关于女性流行乐音乐家的着装文章了吗？

JOANNA: No.

乔安娜：没有。

SUPERVISOR: He points out that a lot of female singers and musicians in popular music tend to dress down in performances, and wear less feminine clothes, like jeans instead of skirts, and he suggests this is because otherwise they'd just be discounted as trivial.

导师：他发现很多流行乐的女性歌手或是音乐人在演出时会穿便装，而且是偏男性化一点的风格，比如用牛仔替代连衣裙，他认为这是因为如果不这么穿的话，她们就会被当成无足轻重的人物被忽视。

JOANNA: But you could argue they're just wearing what's practical ... I mean, a pop-music concert is usually a pretty energetic affair.

乔安娜：但是你可以质疑，她们这样做可能只是因为行动比较方便。我是说，一场流行乐演唱会可是挺费体力的演出。

SUPERVISOR: Yes, he doesn't make that point, but I think you're probably right.

导师：是的，他没有指出这点。但是我想你是对的。

I was interested by the effect of the audience at a musical performance when it came to the choice of dress.

我很好奇，她们服装方面的选择在观看音乐表演的观众中起到的效果。

JOANNA: The subjects I interviewed felt this was really important.

乔安娜：我采访研究对象时认为这影响很大。

lt's all to do with what we understand by performance as a public event.

这取决于我们对演出这种公共活动是如何理解的。

They believed the audience had certain expectations and it was up to them as performers to fulfil these expectations, to show a kind of esteem ...

研究对象认为观众有某种期待，而这些期待需要她们作为表演者来满足，以表现出一种对观众的尊重。

SUPERVISOR: ... they weren't afraid of looking as if they'd made an effort to look good.

导师：她们并不担心自己看上去会像努力打扮过了一样。

JOANNA: Mmm. I think in the past the audience would have had those expectations of one another too, but that's not really the case now, not in the UK anyway.

乔安娜：嗯。我想过去的观众确实是这样想的，但是现在这种想法已经很少了。至少在英国是这样。

SUPERVISOR: No.

导师：是的。

JOANNA: And I also got interested in what sports scientists are doing too, with regard to clothing.

乔安娜：我还对运动科学家的着装研究比较感兴趣。

SUPERVISOR: Musicians are quite vulnerable physically, aren't they, because the movements they carry out are very intensive and repetitive, so I'd imagine some features of sports clothing could safeguard the players from the potentially dangerous effects of this sort of thing.

导师：音乐人的身体非常容易受伤，因为他们经常重复高强度的动作。我认为一些运动类型的衣服可以很好地保护他们免受一些伤害。

JOANNA: Yes, but musicians don't really consider it.

乔安娜：是的，但是音乐人们并不这么认为。

They avoid clothing that obviously restricts their movements, but that's as far as they go.

虽然他们会避免穿着那些限制他们行动的衣服，但是运动衣还是算了吧。

SUPERVISOR: Anyway, coming back to your own research, do you have any idea where you're going from here?

导师：好了，还是回到你的研究上来吧，你想好如何着手了吗？

JOANNA: I was thinking of doing a study using an audience, including ...

乔安娜：我想做一个关于观众的研究，包括……