Стр. 252 ‘the results provide evidence of relatively modest’: Schellenberg (2004), p. 513. • Стр. 253 ‘The development of the senses’: Blacking (1987), p. 118.
10 Аппассионато: Мало огня
Стр. 254 ‘Suddenly [I] experienced a tremendously strong feeling’: A. Gabrielsson, in Juslin and Sloboda (eds) (2001), p. 437. ‘I was filled by a feeling that the music’: ibid., p. 437. • Стр. 225 ‘[There was] a chord so heart-rending and ghost-ridden’: ibid., p. 439. ‘music is the shorthand of emotion’: in S. E. Anderson, The Quotable Musician, Allworth Press, New York, 2003, p. 2. ‘What passion cannot Music raise and quell?’: 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. 257 ‘wrapped in a cloud of high-flown sentimentality’: Hanslick (1891), p. 17. ‘Definite feelings and emotions are unsusceptible’: ibid., p. 33. ‘The physiological process by which the sensation of sound’: ibid, p. 116. • Стр. 258 ‘to a set of “effects” such as might’: Sloboda (2005), p. 376. • Стр. 259 ‘Those who imagine that a creative artist can’: quoted in J. Fisk (ed.), Composers on Music, Northeastern University Press, Boston, 1997, p. 157. ‘the reactions which music evokes are not feel-ings’: Hindemith (1961), p. 45. • Стр. 262 ‘It may be necessary to focus more strongly on terms’: K. Scherer and M. Zentner, in Juslin and Sloboda (eds) (2001), p. 381. ‘there exists no adequate word in any language’: Copland (1957), p. 10. ‘music sounds the way emotions feel’: Kivy (2002), p. 40. ‘The forms of human feeling’: Langer (1957), p. 235 and 228. ‘the dynamics and the abstract qualities of emotion’: Sessions (1950), p. 23. ‘a significant image of the inner flow of life’: M. Tippett, ‘Art, judgment and belief: towards the condition of music’, in P. Abbs (ed.), The Symbolic Order, Falmer Press, London, 1989, p. 47. ‘music mirrors the human soul’: H. Schenker, Free Composition, Longman, London 1979; quoted in N. Cook, ‘Schenker’s theory of music as ethics’, Journal of Musicology 7, 415—39 (1989). ‘What we feel in art is not a simple or single’: E. Cassirer, An Essay on Man: An Introduction to a Philosophy of Human Culture, Meiner, Hamburg, 2006, p. 161. • Стр. 265 ‘Music operates on our emotional faculty’: Hanslick (1891), p. 107. ‘My intuition is that musical emotions typically occur’: I. Peretz, in Juslin and Sloboda (eds) (2001), p. 126. • Стр. 267 ‘Of the harmonies I know nothing’: Plato, The Republic, Book III, transl. B. Jowett. • Стр. 270 ‘That which for the unguarded feelings of so many lovers of music’: Hanslick (1891), p. 123. ‘If music be the food of love’: W. Shakespeare, Twelfth Night, Act I, i. • Стр. 271 ‘many people feel they are being told’: in Juslin and Sloboda (eds) (2001), p. 458. • Стр. 272 ‘Taking advantage of the fact that I still was not alone’: M. Proust, Remembrance of Things Past, Vol. 2, transl. C. K. S. Moncrieff and S. Hudson, Wordsworth, Ware, 2006, p. 576. • Стр. 273 ‘One answer to the question’: in Juslin and Sloboda (eds) (2001), p. 98. • Стр. 277 ‘In 1971 Ravi Shankar, the Indian virtuoso’: D. Hajdu, ‘Fascinating rhythm’, New York Review of Books 20 July 2000, p. 41. ‘the more closely the external musical impression approaches’: Hindemith (1961), p. 20. • Стр. 278 ‘the essential possibility of foreseeing and anticipating’: ibid., p. 23. ‘music goes astray, disappears in chaos’: ibid., p. 23. ‘the building material cannot be removed very far away’: ibid., p. 24. • Стр. 279 ‘To the scientist our method’: ibid, p. ix. • Стр. 280 ‘In music the state of suspense involves an awareness’: Meyer (1956), p. 29. • Стр. 281 ‘emotions are felt to be pleasant, even exhilarating’: L. B. Meyer, in Juslin and Sloboda (eds) (2001), p. 359. • Стр. 283 ‘Nature’s tendency to overreact provides a golden opportunity’: Huron (2006), p. 6. • Стр. 285 ‘properly curb the violent impulses of his imagination’: Grout (1960), p. 205. • Стр. 286 ‘The delight of intelligent mental play’: L. B. Meyer, Explaining Music, University of California Press, Berkeley, 1973, p. 213. ‘will immediately conclude that the whole concert’: quoted in Meyer (1956), p. 208. ‘Certain purposeful violations of the beat’: C. P. E. Bach, An Essay on the True Art of Playing Keyboard Instruments, transl. W. J. Mitchell, W. W. Norton, New York, 1949, p. 150. • Стр. 293 ‘Rubato must emerge spontaneously from the music’: M. Pollini, interviewed by Carsten Dürer for Deutsche Grammophon; see http://www2.deutschegrammophon.com/special/insights.htms? ID= pollini-nocturnes. • Стр. 295 ‘always represents the extraordinary’: E. E. Lowinsky, Secret Chromatic Art in the Netherlands Motet, transl. C. Buchman, Columbia University Press, New York, 1946, p. 79. • Стр. 296 ‘frustration of conventional expectations’: Rifkin (2006), p. 146. • Стр. 302 ‘The unlimited resources for vocal and instrumental expression’: C. E. Seashore, introduction to M. Metfessel, Phono-photography in Folk Music, University of North Carolina Press, Chapel Hill, 1928, p. 11. ‘must not be considered faulty, offpitch singing’: Bartók and Lord (1951), p. 4. • Стр. 303 ‘is not necessarily worse than [that of]’: Meyer (1956), p. 204. ‘Every now and then there was a little deviation’: J. Kunst, Music in Java, Martinus Nijhoff, The Hague, 1949, p. 59.‘When an expressive intention shows up in the blues’: Hodeir (1956), p. 227. • Стр. 304 ‘Probably no one has ever doubted’: quoted in Grout (1960), p. 455. ‘A melody without ornament is like’: quoted in A. Danielou, Northern Indian Music, Christopher Johnson, London, 1949, p. 102. ‘may well be due to the contrast between the essential simplicity’: G. Herzog, in the introduction to Bartók and Lord (1951), p. xiii. • Стр. 306 ‘toward the emotion, and illuminate the sense’: J. Mattheson, Der vollkommene Capellmeister (1739), transl. E. C. Harriss, University of Michigan Research Press, Ann Arbor, Michigan, 1981, p. 370. • Стр. 307 ‘One will say ‘love’. He may be right’: Hanslick (1891), p. 44. • Стр. 311 ‘to calculate all the beauties in one symphony’: H. C. Oerstedt, Der Geist in der Natur, Vol. III, p. 32 (Hanslick’s translation). • Стр. 314 ‘What is profound about the experience of a listener’: Meyer (1996), p. 462. • Стр. 315 ‘there would hardly be a measure of music’: Sloboda (2005), pp. 229—30. • Стр. 316 ‘the entire interaction between the attractional field’: Lerdahl (2001), p. 190. • Стр. 317 ‘The interplay of tension, release, surprise, and confirmation’: Juslin and Sloboda (eds) (2001), p. 93. • Стр. 318 ‘aggressive force implies no future goal’: L. B. Meyer, ibid., p. 357. • Стр. 319 ‘we should resist cognitive theories of expression’: Scruton (1997), p. 359. ‘the great triumphs of music… involve this synthesis’: ibid. ‘Many people are moved by music’: ibid., p. 371.
11 Каприччиозо: За пределами стиля
Стр. 325 ‘Always remember that a theme is, after all, only a succession of notes’: Copland (1957), pp. 19—20. • Стр. 329 ‘A classical composer did not always need themes’: quoted in Rothstein (1996), p. 96. • Стр. 333 ‘After sufficient training, GenJam’s playing’: Biles (1994), p. 136. ‘it does not please us particularly well’: Spector and Alpern (1994), p. 7. • Стр. 335 ‘a decline in morals’: Scruton (1997), p. 502. • Стр. 336 ‘it has become increasingly clear that the coherence systems’: Becker and Becker (1979/1983), pp. 34—5. • Стр. 338 ‘traditional modes of deviation are exaggerated to extremes’: Meyer (1956), p. 71. ‘Modulations, cadences, intervals and harmonious progressions’: Hanslick (1891), p. 81. ‘unifies all elements so that their succession and relation’: A. Schoenberg, Style and Idea, ed. L. Stein, Faber & Faber, London, 1975, p. 279. • Стр. 339 ‘What would remain of the art of painting’: Scruton (1997), p. 291. • Стр. 341 ‘makes ever heavier demands upon the training’: Babbitt (1958), Доступно на http://www.palestrant.com/ babbitt.html. ‘I dare suggest that the composer would do himself ’: ibid. • Стр. 343 ‘the best music utilizes the full potential of our cognitive resources’: Lerdahl, in Sloboda (ed.) (1988), p. 255.
