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附录参考文献
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第一章 当下的音乐
[1]Small,Musig:TheMeaningsandListeni:WesleyayPress,1998).Sartre,Psyagination(Lohuen,1972),224.
[2]Steinhardt,IndivisiblebyFQuartetinPursuitofHarmony(NewYork:FarrarStrausGiroux,1998).HereferstmajorK327,butthereisnosuchquartet;theonlymatureoneinGmajorisK387.
[3]Schutz,‘Makingmusictogether:Astudyinsocialrelationship’,inArvidBrodersen(ed.),CollectedPapersII:StudiesinSocialTheory(TheHague:MartinusNijhoff,1967),159–78[175].
[4]IngoldandHallam(eds),‘Creativityandculturalimprovisation:AnintroduElizabethHallamandTimIngold(eds),CreativityandCulturalImprovisati,2007),1–24[6,10–11,19].
[5]GergeionalBeing:BeyondSelfandunity(NewYork:OxfordUyPress,2009),30.
[6]BrowhurKnight,‘Jammin’theblues,htofjazz,1944’,inKrinGabbard(ed.),RepresentingJazz(Durham,NiversityPress,1995),11–53[16].Sidran,BlaewYork:Holt,RiandWinston,1971),6.
[7]Boulezquoted:MichaelOliver,SettlingtheScore:AJhtheMusicoftheTweury(London:Faber,1999),147.Mingusquoted:BarryKertoListenforinJazz(NewHaven:YaleUyPress,1995),119.ed:TheStudyofEthnomusicology:Twenty-nineIssuesas(UrbayofIllinoisPress,1983),40.
[8]BerlihinkinginJazz:TheIofImprovisation(ChiiversityofChicagoPress,1994),102.Nooshin,‘Improvisatioivity,knoower—ThecaseofIranianclassicalmusialoftheRoyalMusicalAsso1282(2003),242–96[277].
[9]Armstrong’ssushee,‘TheimprovisationofL’,ihMelindaRussell(eds),IntheaudiesintheWorldofMusicalImprovisation(ChiiversityofChicagoPress,1998),291–334.
[10]Sbergonperformers:DikaNewlin,SbergRemembered:Diariesaions(1938–76)(NewYonPress,1980),164.
[11]Philip,EarlyRegsandMusicalStyle:gTastesialPerformance,1900–195e:CambridgeUyPress,1992),220.
[12]Coreartiusic:Leeson,‘Whatwearedoingwithearlymusiuiosuchasmalldegreethatthewordlosesmostofitsintendedmeaning’,EarlyMusic121(1984),13–16;Taruskihepresentandtheprese’,iandAct:EssaysonMusidPerformanewYork:OxfordUyPress,1995),9inallypublished1988).
[13]Austin,HowtoDoThingswithWords:TheWilliamJamesLecturesdeliveredatHarvardUyin1955(Oxford:Press,1962).
[14]Hodge,‘Aesthetiusitity,andtime’,inMichaelKrausz(ed.),TheIionofMusic:PhilosophicalEssays(Oxford:Press,1993),247–58(includesdisofWittgenstein).
[15]Solie,‘Whoselife?ThegenderedselfinS’sFrauenliebesongs’,inStephenPaulScher(ed.),MusidText:Critiquiries(Cambridge:CambridgeUyPress,1992),219–40.
[16]Potter,VocalAuthingStyleandIdeole:CambridgeUyPress,1998),182.
[17]Swedishber:AlfGabrielssExperiehMusic:MusicisMuchMorethanJustMusic(Oxford:OxfordUyPress,2011),251.
[18]Meihepoliticsstudio:AcasestudyfromSouthAfriicholasCooketal.(eds),TheCambridgepaniontoReusic(Cambridge:CambridgeUyPress,2009),84–97[85].
[19]Maudiesapproausic:YaakovAtik,‘Thedudtheorchestra:Isoftheleadershipprocess’,LeadershipandanizatioJournal151(1994),22–8.
第二章 用音乐思考
[20]RumiquotedinHasanShah,TheDangGirl(NewYork:ions,1993),93.Costelloquoted:TimothyWhite,‘Amanoutoftimebeatstheusi60(October1983),52.Seeger,StudiesinMusicology1935–75(Berkeley:UyofiaPress,1977),45.
[21]Kingsbury,Musit,andPerformanservatoryCulturalSystem(Philadelphia:TempleUyPress,1988),181.
[22]Talkandwine:AdrienneLehrer,Wineaion(NewYork:OxfordUyPress,2009).
[23]ElleheAlchemyofSeublishing,2011),38.
[24]S,TheAestheticsofArchiteethuen,1979),51.
[25]Bes,‘OfexasAUoryofInfamy(London:AllenLane,1973),141.
[26]Figure6:thankstoSusanRankinfmeoverthis,aswellasallowioreproducehertrans.
[27]Sudnow,Talk’sBody:AMeditatiowoKeyboards(NewYork:Knopf,1979),6–7.
[28]Clark,SupersizingtheMi,AditiveExtension(NewYork:OxfordUyPress,2008),2.
[29]hIndiansingiGjerdingeioructureofsong’,MusicPer6(1988),35–64.
[3er,‘Turningmusictheoryonitsear:Doesee?Doesay?’,IionalJournalofputersforMathematiing1(1996),33–55[40].
[31]HarrisonquotedfromEricClarkeetal.,‘IionandperformanHarrisoemps’,Musitiae19(2005),31–74[43].
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