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[32]Musis’exaggeratedclaims:MarieAgnearisoesofmusis,psychologistsand’,Psyonographs311(1922),268–78.
[33]Gortonand?stersj?:EricClarkeetal.,‘Fluidpractices,solidroles?TheevolutionofForlornHope’,indMarkDoffmaributedCreativity:CollaborationandImprovisationinusiewYork:OxfordUyPress,2018),116–35.
[34]Lang’sridiculousrules:A,TheMusethatSings:posersSpeakabouttheCreativeProewYork:OxfordUyPress,1999),222.Reynolds,Formahod:usiewYe,2002),41.Ferneyhough:RossFeller,‘E-sketches:BrianFerneyhough’suseofputer-assistedpositionaltools’,inPatriciaHallandFriedemannSallis(eds),AHandbooktoTweuryMusicalSketches(Cambridge:CambridgeUyPress,2004),176–88.
[35]Perfeditiohoven’spiaomovementonSpotify(sear‘Hess15’);seealsoNicholasCook,‘Beethoven’suninishedpiao:Acaseofdoublevision?’,JournaloftheAmeriMusicologicalSociety,42(1989),38–74.TheperfeditionaredincollaborationwithKelinaK>
[36]FeynmanandWiener:JamesGleiius:RimanandModernPhysi:Abacus,1994),409.
[37]Beethoven’sadviposier1203inEmilyAheLettersofBeethoven,3vols(London:Ma,1961).Sketthewoods:AugustvonKl?ber’sa[Alexahayer’sLifeofBeethoveooyPress,1967),703.
[38]Eudioaspositionaltool’,inChristophdDanielWarner(eds),AudioCulture:ReadingsinModernMusiewYork:,2004),127–30.
[39]Merleau-Ponty,Sigon,IL:eryPress,1964),45.
第三章 在场的“过去”
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[41]Hayd:desbyGiuseppeEdwardKlorman,Mozart’sMusids:Soterplayinthebridge:CambridgeUyPress,2016),41.
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[44]oticesofBeethoven’sNinthSymphoailsinNicholasCook,Beethoven:SymphonyNo.9(Cambridge:CambridgeUyPress,1993),23,27(Kanne),70–1(Fr?hlich),37–8.
[45]icesoflistening:JamesJohnson,ListeninginParis:ACulturalHistory(Berkeley:UyofiaPress,1996).
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[49]‘Judas’aed:ChristopherPaulLee,Liketheed):BobDylaotheMaradeHall(LoerSkelterPublishing,2004),161.Thereisgevideheheckler’sidentityandmotivation.
[50]ClaraSquoted:NancyReich,ClaraS:TheArtistandWoman(IthaY:iversityPress,1985),229.
[51]ExposureofSchl?sserandRoohoveiveprocess:Atwo-partiion’,Music&Letters61(1980),272–83[275,274].Reger:GiselherSdFriedmannSallis,‘SketdsketHallandSallis,AHandbooktoTweuryMusicalSketches,5–16[7].
[52]Bilsoionandexpressioai,K382’,EarlyMusic20(1992),237–43.
[53]Pitts,‘RefleDanielLeesonandHelenPrior(eds),MusidShape(NewYork:OxfordUyPress,2017),386–7[386].
[54]Abbate,‘Music—drastiostic?’,Critiquiry30(2004),505–36[512];Leeson,‘Cortot’sBerceuse’,Musialysis34(2015),335–63[345].Leesonontheclassiaablishment:‘Classicalmusiforcedutopia’,ArtsandHumanitiesiion15(2016),325–36.
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[56]Beyondlip-syng:‘“Aions?”
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[57]Celebrity:JoLittler,‘Adriftorashore?DesertIslandDisdcelebrityculture’,ial.(eds),DefiningtheDiscographicSelf:DesertIslandDistext(London:BritishAcademy,2017),93–106[94].
[58]BeyonedheraimforLemonadeinher2017GrammyAtancespeees:AmyMa,‘Beyoncé’sCoachellaperformauredDestiny’sChild,JayZ,Solange,andseveralepieges’,Harper’sBazaar,15April2018.
[59]Recworks:Ni,‘“Anewpleasure”
:ListeningtoNationalGramophoyrecords,1924–1931’,Musitiae14(2010),139–64[151].
[60]Culsharodu:DavidPatmoreandEricClarke,‘Makingandhearingvirtualworlds:Johndtheartofrecordproduusitiae11(2007),269–93(tohearhisregsonSpotifysearchfor‘Sould’siion(e.g.ofJeanSibelius’sKylliki):KevinBazzana,GlennGould:ThePerformerintheWork(Oxford:OxfordUyPress,1997).
[61]G-Funkandin-ing:JustinWilliams,‘“Carswiththeboom”
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cultures’,inSumanthGopinathandJasonStaheOxfordHandbookofMobileMusicStudies(NewYork:OxfordUyPress,2014),vol.2,109–45[126].
第四章 音乐2.0
[62]Rousseau,EssayinofLanguages(1781),availableiions.
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