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附录 参考文献(第2页)

[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”

[40]AllanbrestureinMozart:LeNozzediFigaroandDonGiovanni(ChiiversityofChicagoPress,1983),6。

[41]Hayd:desbyGiuseppeEdwardKlorman,Mozart’sMusids:Soterplayinthebridge:CambridgeUyPress,2016),41。

[42]Boellstorff,ingofAgeinSedLife(PriooyPress,2008),201。

[43]Lessing(honiesapanyingspokendrama)quotedinWyeJamisonAllanbrook,TheSeedia:esisih-turyMusic,ed。MaryAnnSmartandRichardTaruskin(Berkeley:UyofiaPress,2014),24。

[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)。

[46]WagnerandRolland:Cook,Beethoven:SymphonyNo。9,73(‘Jhsuffering’at96)。

[47]Gjerdingen,MusitheGalantStyle(NewYork:OxfordUyPress,2007),7。MarkEvanBoesthispheheBeethovenSyndrMusicasAutobiography(NewYork:OxfordUyPress,2020)。

[48]Solomohoven(London:Ma,1997),222–3。

[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。

[55]Krameronpale-faces,ClassicalMusiodernKnowledge(Berkeley:UyofiaPress,1995),3–4。AlexRoss,‘Whysoserious?’,ember2008。Kramerhts,WhyClassicalMusicStillMatters(Berkeley:UyofiaPress,2007),2。

[56]Beyondlip-syng:‘“Aions?”Beyoolipsyngbutsileigthis。。。’。HallofFameexhibit:RyanReed,‘BeyonexhibitingtoRodRollHallofFame’,RollingStone,18July2014。

[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”:Musiobility,andhip-hop“sub”cultures’,inSumanthGopinathandJasonStaheOxfordHandbookofMobileMusicStudies(NewYork:OxfordUyPress,2014),vol。2,109–45[126]。

第四章 音乐2。0

[62]Rousseau,EssayinofLanguages(1781),availableiions。

[63]Savage,Bytesas:RepurposingMusitheDigitalAge(AnnArbor:UyofMiPress,2011),53。

[64]Krims,MusidUrbanGeography(NewYe,2007),144,136,146,149;BachregisaoWq。34witheSandtheAkademiefürAlteMusik(search‘BaWq。34’),Anonymous4onesareAmerigelsandTheinofFire。

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