Примечания
1 Прелюдия: Гармоничная вселенная
Стр. 2 ‘Music is auditory cheesecake’: Pinker (1997), p. 534. • Стр. 3 ‘Compared with language’: ibid., p. 528. ‘Art, music and literature are not merely the products’: Carroll (1998), p. xx. • Стр. 4 ‘discarded all amusements, discountenanced all story-books’: Charles Dickens, Bleak House, Chapman & Hall, London, 1868, p. 177. • Стр. 5 ‘is so naturally united with us’: Boethius, Fundamentals of Music, ed. C. V. Palisca, transl. C. M. Bower, Yale University Press, New Haven, 1989, p. 8.
2 Увертюра: Почему мы поем
Стр. 9 ‘Musics can be defined as those temporally patterned’: Cross (2001), p. 32. ‘challenges the boundary between noise and music’: Davies (2005), p. 29. • Стр. 10 ‘Nothing guarantees that all forms’: J. Molino, in Wallin, Merker and Brown (eds) (2000), p. 169. • Стр. 12 ‘Music that has nothing else as its purpose’: Hindemith (1961), p. xi. • Стр. 13 ‘the way in which music is played’: M. Mead, ‘Community drama, Bali and America’, American Scholar 11, 79—88, p. 81 (194—2). ‘When you are content, you sing’: Merriam (1964), p. 64. ‘When one shouts, he is not thinking’: ibid. • Стр. 14 ‘Now the Spirit of the Lord had departed’: 1 Samuel, 16:14—23. • Стр. 15 ‘more moved by the singing’: St Augustine, Confessions X, Ch. 33, transl. J. G. Pilkington, in W. J. Oates (ed.), Basic Writings of Saint Augustine, Random House, New York, 1948. ‘Through melody, harmony, and rhythm’: Scruton (1997), p. 502. • Стр. 17 ‘the science that deals with the music’: Merriam (1964), p. 5. ‘It is a curious paradox that we probably know’: Sloboda (2005), p. 320. ‘rattle with wooden staves and pieces of metal’: Hanslick (1891), p. 146. • Стр. 19 ‘As neither the enjoyment nor the capacity’: Darwin (1877/2004), p. 636. • Стр. 24 ‘it appears probable that the progenitors of man’: ibid., p. 639. • Стр. 25 ‘Music and language have just too many important similarities’: Brown, in Wallin, Merker and Brown (eds) (2000), p. 277. ‘The dance produces a condition in which the unity’: A. R. Radcliffe, The Andaman Islanders, Free Press, Glencoe, 1948, p. 252. • Стр. 26 ‘The role of music in superstitions or sexual rites’: J. G. Roederer, ‘The search for a survival value of music’, Music Perception 1, 350—6, p. 356 (1984). • Стр. 27 ‘the profound meaning of music’: I. Stravinsky, Poetics of Music, Vintage, New York, 1947, p. 21. • Стр. 28 ‘were found by evolving human groups’: E. Dissanayake, in Wallin, Merker and Brown (eds) (2000), p. 401. • Стр. 30 ‘The notion that something is either a product of biological adapt ation’: Patel (2008), p. 412.
3 Стаккато: Атомы музыки
Стр. 32 ‘I decided to call my music “organized sound”’: E. Varèse, The Liberation of Sound (1936), quoted in A. Hugill, The Digital Musician, Routledge, New York, 2008, p. 68. • Стр. 50 ‘exceedingly coarse and tasteless’: Plato, Laws Book II, transl. B. Jowett. • Стр. 61 ‘unpleasant to uncorrupted ears’: H. von Helmholtz, On the Sensations of Tone as a Physiological Basis for the Theory of Music, transl. A. J. Ellis, Dover, Mineola, New York, 1954, p. 428. • Стр. 71 ‘the naïve view that by some occult process’: N. Cazden, ‘Musical consonance and dissonance: a cultural criterion’, Journal of Aesthetics 4, p. 4 (1945). ‘Just as little as the gothic painted arch’: Helmholtz (1954), p. 236. • Стр. 72 ‘there are as many scales as there are gamelans’: C. McPhee, Music in Bali, Yale University Press, New Haven, 1966. Quoted in D. Deutsch (ed.) (1982), p. 258. ‘The specific size of intervals in gamelan music’: J. Becker and A. Becker (1983), p. 36. • Стр. 76 ‘is conditioned not only by what sound is actually produced’: B. Nettl (1973), p. 33. • Стр. 84 ‘the folk-scales in which their so-called’: quoted in T. Balough, A Musical Genius from Australia: Selected Writings by and about Percy Grainger, Music Monographs No. 4, University of Western Australia Press, Nedlands, 1982, p. 70. ‘depending on how open or how disguised’: A. Hodeir (1956), p. 155.
4 Анданте: Что такое напев?
Стр. 93 ‘Melodies can be constructed rationally’: Hindemith (1961), p. 112. • Стр. 101 ‘ongoing accommodation of errors’: Bregman (1990), p. 475. • Стр. 119 ‘It is insufficient merely to hear music’: Copland (1957), p. 5. • Стр. 128 ‘The emphasis given to a tone’: A. Schoenberg, ‘Composition with twelve tones (Part 2)’, 1948; reprinted in L. Stein (ed.), Style and Idea, Faber & Faber, London, 1975, p. 246. • Стр. 130 ‘it sounds as if someone has smeared the score’: quoted in Rosen (1976), p. 11. • Стр. 133 ‘Just as our mind always recognizes’: Schoenberg, in Style and Idea, quoted in Deutsch (ed.) (1982), p. 283. ‘perceptual equivalence under transposition’: D. Deutsch, in Deutsch (ed.) (1982), p. 283. ‘consciously used, the motif’: Schoenberg, in Strang and Stein (eds) (1982), p. 8. • Стр. 135 ‘as promising as attempts at avoiding the effects’: Hindemith (1961), p. 64. ‘will probably never understand why music’: ibid., p. 65. • Стр. 136 ‘When the music goes everywhere’: Scruton (1997), p. 303. ‘in the recitative music degenerates’: Hanslick (1891), p. 57—8.
5 Легато: Сохранить единство
Стр. 138 ‘a picture – in-sounds of the sounds of nature’: C. Ives, cited in recording notes by Victor Ledin, Доступно на http://www.medienkunstnetz.de/works/central-park-in-the-dark/ • Стр. 139 ‘The mind will tend to apprehend a group’: Meyer (1956), p. 162. • Стр. 143 ‘four thin, sharp laser beams’: Sacks (2007), p. 113. • Стр. 154 ‘It was as if someone had suddenly returned’: Sloboda (1985), p. 158. • Стр. 161 ‘Even music of the type written by Charles Ives’: Bregman (1990), p. 461.‘each enjoying its local harmony’: Scruton (1997), p. 65.‘The complex polyphony of the individual parts’: see, for example, S. Gerfried, G. Stocker and C. Schof (eds), Ars Electronica 2004: Time Shift – The World in 25 Years, Hatje Cantz, Berlin, 2004, p. 285. • Стр. 162 ‘perceptually precarious’: Bregman (1990), p. 532.
6 Тутти: Все вместе
Стр. 163 ‘Now there is need, Urania, of a grander sound’: Kepler, Harmonia mundi 441, quoted in Pesic (2005), 3.18 (http://www.sscmjscm.org/v11/no1/pesic.html). • Стр. 164 ‘The universe itself is said to have been put together’: Isidore of Seville, Etymologies, Book III.17.1, in Isidore of Seville’s Etymologies, Vol. 1, transl. & ed. P. Throop. Lulu.com, 2006. • Стр. 165 ‘From Harmony, from heavenly Harmony’: J. Dryden, ‘Ode for St Cecilia’s Day’, in S. Johnson (ed.), The Works of the English Poets, from Chaucer to Cowper, Vol. 8, J. Johnson et al., London, 1810, p. 607. • Стр. 171 ‘some Pairs are heard with great Delight’: quoted in Fauvel, Flood and Wilson (eds) (2003), p. 84. • Стр. 175 ‘Chords of major and minor seconds’: Blacking (1987), p. 15. ‘to most ears more attractive’: Rosen (1976), p. 32. • Стр. 176 ‘have already learned a good deal’: Patel (2008), p. 382.
7 Con Moto(с подвижностью): Порабощенные ритмом
Стр. 215 ‘Once a rhythm becomes established’: Cooper and Meyer (1960), p. 13. • Стр. 219 ‘a blues lick that went round and round’: quoted in M. Snow, ‘The Secret Life of a Superstar’, Mojo December 2007, p. 81—2. • Стр. 222 ‘It often happens among Indian Musicians’: W. Sargeant and S. Lahiri, ‘A study in East Indian rhythm’, Musical Quarterly 17, 427—38, pp. 435—6 (1931).
