Музыкальный инстинкт. Почему мы любим музыку

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.

12 Парландо: Почему музыка говорит с нами

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.

13 Сериозо: Смысл музыки