{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"a6cc7da8-99f2-4538-8a66-26787f7481a3","title":"资本主义与精神分裂(卷2)：千高原(修订译本)","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208178977","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"a6cc7da8-99f2-4538-8a66-26787f7481a3","id":"a6cc7da8-99f2-4538-8a66-26787f7481a3","uuid":"a6cc7da8-99f2-4538-8a66-26787f7481a3","title":"资本主义与精神分裂(卷2)：千高原(修订译本)","normalized_title":"资本主义与精神分裂卷2千高原修订译本","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208178977","isbns":["9787208178977"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":515,"navigation_url":"https://workshop.closeclaw.top/ai/book/a6cc7da8-99f2-4538-8a66-26787f7481a3","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B5%84%E6%9C%AC%E4%B8%BB%E4%B9%89%E4%B8%8E%E7%B2%BE%E7%A5%9E%E5%88%86%E8%A3%82(%E5%8D%B72)%EF%BC%9A%E5%8D%83%E9%AB%98%E5%8E%9F(%E4%BF%AE%E8%AE%A2%E8%AF%91%E6%9C%AC)","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/a6cc7da8-99f2-4538-8a66-26787f7481a3/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/a6cc7da8-99f2-4538-8a66-26787f7481a3/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/a6cc7da8-99f2-4538-8a66-26787f7481a3","page_url":"https://workshop.closeclaw.top/api/ai/books/a6cc7da8-99f2-4538-8a66-26787f7481a3/page","search_url":"https://workshop.closeclaw.top/api/ai/books/a6cc7da8-99f2-4538-8a66-26787f7481a3/search"},"page":{"printed_page":324,"pdf_page":342,"physical_index":342,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a17b3a9f256204acf037e04b7da058415e84470cdc2f7c7e6e756b40593f2db1"},"chapter":"Capitalisme et Schizophré Mille Plat Dilles Del ix Gu","content":"资本主义与精神分裂（卷2）：千高原（修订译本）\n\n① Histoire de la musique，Pléiade， t. II，参见 Roland-Manuel 的文章(«l'évolution de l'harmonie en France etle renouveau de1880»，pp.867—879)，以及德拉热(Delage)论夏布里耶的论文(831—840)。尤其参见吉塞勒·布雷莱(Gisèle Brelet)对巴托克（Bartók）的研究：“学院派音乐在采用流行音乐时所遭遇的困难是否源自旋律和主题之间的此种二律背反？流行音乐就是旋律，最充分意义上的旋律，由此它让我们相信它就是自足的，它就是音乐自身。它怎能不拒绝屈从于一部追寻其自身目的音乐作品的技巧高超的展开？许多从民间故事之中获得灵感的交响乐都仅仅是关于一个流行主题的交响乐，而那种技巧高超的展开则始终是外在于这个主题、与其格格不入的。流行旋律决不会成为一个真正的主题；而这就是为什么在流行音乐之中，旋律就是作品的全部，一旦旋律终结之后，它除了重复自身之外就别无他法。不过，旋律难道就不能将自身转化为主题？巴托克解决了这个被认为是无法解决的问题”(p.1056)。\n\n② 夏布里耶(Emmanuel Chabrier，1841—1894)，法国浪漫主义作曲家。——译注\n\n③ Marcel Moré，Le dieu Mozart et le monde des oiseaux，Gallimard，p.168。以及，关于晶体，pp.83—89。\n\n④ 对“梦幻曲”所作的著名分析，参见 Berg，《Rêverie»，Écrits，Éd. du Rocher，pp.44—64。\n\n324","previous_page":323,"next_page":325}