Jonathan Harvey debuted several novel techniques and elements in his String Quartet No. 2—“temperature” and gender markings, unique to this piece, and the melodic chain technique, a method which he continued to use in his subsequent quartets. Though the melodic chain technique is decipherable from score analysis, and has been explained by the composer in interviews, Harvey’s temperature and gender markings have continued to puzzle scholars, due to vague descriptions that obscure their meaning (especially in the case of the temperature markings) and to the implied stereotypes of themes that are gendered feminine and masculine (more shocking to the modern eye than it was in 1988). The question thus arises: did Harvey engage in a sexist trope with his gendered stereotyping of the themes, or was he ahead of his time by offering a nuanced and fluid approach to understanding gender, guided by his spirituality, presenting the constraints of binary stereotypes before dismantling them? Building on the scholarship of gender theory and musical gesture and embodiment, this article examines the meaning of gender in this piece.

中文翻译：

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乔纳森·哈维第二弦乐四重奏中的性别认同和手势表征

乔纳森·哈维（Jonathan Harvey）在他的第二弦乐四重奏中首次展示了几种新颖的技巧和元素——这首作品独有的“温度”和性别标记，以及他在随后的四重奏中继续使用的旋律链技巧。虽然旋律链技术可以从乐谱分析中解读出来，并且作曲家在采访中对此进行了解释，但哈维的温度和性别标记一直困扰着学者，因为模糊的描述掩盖了它们的含义（尤其是在温度标记的情况下）以及隐含的性别女性和男性主题的刻板印象（在现代人眼中比 1988 年更令人震惊）。因此出现了一个问题：哈维对主题的性别刻板印象是否参与了性别歧视的比喻？或者他是否领先于他的时代，提供了一种微妙而流畅的方法来理解性别，在他的精神指导下，在消除二元刻板印象之前提出它们的限制？本文在性别理论和音乐姿态与体现的学术研究的基础上，探讨了这首曲子中性别的含义。