Музыкальный инстинкт. Почему мы любим музыку

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).

8 Пиццикато: Цвет музыки

Стр. 229 ‘We do not know how to define timbre’: Bregman (1990), p. 93. • Стр. 233 ‘Every violin has its own voice or tone’: A. Gregorian, personal correspondence. • Стр. 234 ‘If you take each moment of each frequency component’: Bregman (1990), p. 647. • Стр. 238 ‘spraying shower or flowing hair’: ibid., p. 117.

9 Мистериозо: Все заключено в уме

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