Филип Болл - Музыкальный инстинкт. Почему мы любим музыку

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.

Стр. 355 ‘alone in the world with his more or less unintelligible language’: quoted in Cooke (1959), p. ix. • Стр. 358 ‘Whenever someone spoke to me’: quoted in M. Zemanová, Janᡠcek: A Composer’s Life, John Murray, London, 2002, p. 75. • Стр. 359 ‘Nations creates music, composers only arrange it’: quoted in F. Bowers, Scriabin: A Biography, 2nd revised edn, Dover, Mineola, New York, 1996, p. 20. • Стр. 362 ‘an intensified version of the actual sounds’: Grove’s Dictionary of Music and Musicians, Vol. 5, Macmillan, New York, 1935, p. 605. • Стр. 363 ‘If I took a Czech, or an English, French or other folksong’: in Z. E. Fischmann (ed.), Janᡠcek-Newmarch Correspondence, Kabel, Rockville, 1989, p. 123. • Стр. 373 ‘closer to the surface’: Lerdahl (2001), p. 143. • Стр. 374 ‘a brilliant creative work’: quoted in Sloboda (1985), p. 260. • Стр. 380 ‘can prime representations of meaningful concepts’: Koelsch et al. (2004), p. 306.

Стр. 381 ‘It is easier to pin a meaning-word on a Tschaikovsky’: Copland (1957), pp. 10—11. ‘Is there meaning in music?’: ibid., p. 9. ‘If a composer could say what he had to say in words’: attributed to Mahler in a letter to Max Marschall, 26 March 1896. • Стр. 382 ‘People usually complain that music is too many-sided’: quoted in L. Botstein, ‘Recreating the career of Felix Mendelssohn’, in Mendelssohn and His World, ed. R. L. Todd, Princeton University Press, Princeton, 1991, p. 60. ‘Language is a common and practical element’: P. Valéry, Pure Poetry: Notes for a Lecture, quoted in The Creative Vision, ed. H. M. Black and Salinger, Grove Press, New York, 1960, pp. 25—6. ‘all art constantly aspires towards the condition of music ‘: W. Pater, The Renaissance: Studies in Art and Poetry, Macmillan, London, 1873, p. 111. ‘If, as is nearly always the case’: I. Stravinsky, Igor Stravinsky: An Autobiography, W. W. Norton, New York, 1962, p. 53. ‘Strictly speaking you cannot write about music’: quoted in Critchley and Henson (1977), p. 217. • Стр. 383 ‘Music expresses, at different moments’: Copland (1957), p. 10. ‘music which always says the same thing’: ibid., p. 11. • Стр. 384 ‘when men hear imitations, even apart from the rhythms’: Aristotle, Politics 8, part V, transl. B. Jowett. ‘has the power either to improve or to debase’: quoted in Hindemith (1961), p. 8. ‘Let me make the songs of a nation’: quoted in Grout (1960), p. 8. ‘when there are no words, it is very difficult’: Plato, Laws Book II, transl. B. Jowett. ‘music, like humus in a garden soil’: Hindemith (1961), p. 6. • Стр. 385 ‘The riches of music are so excellent’: M. Luther, Foreword to G. Rhau, Symphoniae iucundae (1538), quoted in H. Lockyer, Jr., All the Music of the Bible, Hendrickson, Peabody, 2004, p. 144. ‘a discipline, and a mistress of order and good manners’: quoted in J. E. Tarry, ‘Music in the educational philosophy of Martin Luther’, Journal of Research in Music Education 21, 355—65 (1973). ‘turning modern men, women and children back to the stages’: Anon., ‘Condemns age of jazz’, New York Times 27 January 1925, p. 8; quoted in Merriam (1964), p. 242. • Стр. 387 ‘the loveable glad man who paces hale and hearty’: R. Wagner, Judaism in Music and Other Essays, transl. W. A. Ellis, London, 1894, pp. 222—3. ‘Schumann’s masculine personae thus coalesce under a feminine sign’: Kramer (2002), p. 113. • Стр. 388 ‘One day the children’s children of our psychologists’: A. Schoenberg, in Style and Idea, ed. L. Stein. Faber & Faber, London, 1975; quoted in Cooke (1959), p. 273. • Стр. 390 ‘only enhance[s] the presence of meaning as an issue or problem’: Kramer (2002), p. 16. • Стр. 391 ‘who go so far as to call every transposition a rank violation’: Révész (2001), p. 113. ‘tender, soft, sweet, effeminate’: quoted in Duffin (2007), p. 44. • Стр. 393 ‘leads some people into a pseudo feeling of profound melancholy’: Hindemith (1961), p. 47. ‘One is bound to regard anyone who reacts in this way’: Cooke (1959), p. 23. ‘The truly musical person, with a normal capacity’: ibid., p. 22. • Стр. 394 ‘there is a tremolando passage of the kind’: Scruton (1997), p. 43. ‘Emotional responses to music are neither correct nor incorrect’: Raffman (1993), p. 59. • Стр. 395 ‘The listener thus makes direct contact’: Cooke (1959), p. 19. • Стр. 396 ‘there are too many performers and composers whose lives’: Blacking (1987), p. 40. • Стр. 398 ‘the art of pleasing by the succession and combination’: C. Burney, ‘Essay on musical criticism’, introduction to his General History of Music, Book III, 1789; quoted in Grout (1960), p. 451. • Стр. 401 ‘One could not better define the sensation produced by music’: I. Stravinsky, Chronicle of My Life, Gollancz, London, 1936, p. 93. • Стр. 407 ‘A more helpful distinction than classical and rock music’: quoted in Guardian Review 27 June 2009, p. 12. ‘in contrast to that of the European executant musician’: J. Kunst, Music in Java, Martinus Nijhoff, The Hague, 1949, p. 401.

Стр. 409 ‘I believe that every scientist who studies music’: Sloboda (2005), p. 175. • Стр. 411 ‘The idea that educationalists must be converted’: Blacking (1987), p. 120. ‘something for the sake of which it is worthwhile’: F. Nietzsche, Beyond Good and Evil, transl. R. J. Hollingdale, Penguin, London, 2003, p. 111.

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