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The Changing Sound of Music: Approaches to Studying Recorded Musical Performance.

机译:不断变化的音乐之声:研究录制的音乐表演的方法。

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摘要

This book asks a straightforward pair of questions: why musical performance styles in nWestern “art” music change and how this relates in turn to the way music moves people. nIt posits that mainstream musicology, with its dogged focus on the “work” at the expense nof performance, is ill-equipped to deal with these questions, and that answering them nsatisfactorily will require a wide-ranging multidisciplinary effort integrating humanistic nand scientifc methods. In essence, it seeks to alert musicologists to the full extent of nwhat they don’t know about musical expressivity, and then to place at their fngertips nsome conceptual and technical tools they might use to launch a performance-centered nmusicology that is both relevant to most people’s meaningful experiences of music and ngrounded in empirical formal analysis. Despite its wealth of case studies – chapters four, nfve, and six are devoted respectively to singing, violin, and piano – it is emphatically nmore manifesto than “fnal word,” intended to provoke and enable further work along nthe lines it sets forth.
机译:本书提出了一个直截了当的问题:n西方“艺术”音乐中的演奏风格为何会发生变化,以及这又如何与音乐感动人们的方式相关。 nIt认为,主流音乐学一直专注于以“牺牲性能”为代价的“工作”,无法很好地处理这些问题,要想令人满意地回答这些问题,就需要将人文主义和科学方法结合在一起的广泛的多学科努力。从本质上讲,它试图提醒音乐学家关于音乐表现力的全部未知知识,然后在他们的指尖放置一些概念和技术工具,他们可以使用这些概念和技术工具来启动以性能为中心的音乐学,这与大多数人对音乐的有意义的体验都扎根于经验形式分析。尽管有大量的案例研究–第四章,第五章和第六章分别讨论唱歌,小提琴和钢琴,但它显然比“ final word”更能体现宣言的意图,旨在激发并推动按照其阐述的思路开展进一步的工作。

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  • 来源
    《ARSC Journal》 |2010年第2期|p.303-305|共3页
  • 作者

    Feaster Patrick;

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  • 正文语种 eng
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  • 入库时间 2022-08-18 01:02:22

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