{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","title":"象征的贫困 2：感性的灾难","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305250415","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","uuid":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","title":"象征的贫困 2：感性的灾难","normalized_title":"象征的贫困2感性的灾难","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305250415","isbns":["9787305250415"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":288,"navigation_url":"https://workshop.closeclaw.top/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B1%A1%E5%BE%81%E7%9A%84%E8%B4%AB%E5%9B%B0%202%EF%BC%9A%E6%84%9F%E6%80%A7%E7%9A%84%E7%81%BE%E9%9A%BE","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/b708aa90-cb9d-4126-93b7-4c56ecb08efe","page_url":"https://workshop.closeclaw.top/api/ai/books/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page","search_url":"https://workshop.closeclaw.top/api/ai/books/b708aa90-cb9d-4126-93b7-4c56ecb08efe/search"},"page":{"printed_page":87,"pdf_page":102,"physical_index":102,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"dbfc914f949fb3e35bacc49313d0bc0ea78f60f41e379352feb34a8c1e1ec7b8"},"chapter":"第二章 装备仪器","content":"这个在仪式上此起彼伏响起的音乐，激发了信徒们的迷幻，使他们翩翩起舞，此时他们已经被音乐附体。谁奏的音乐？谁在拨弄这些乐器？谁在敲击这些鼓？谁在唱着这些歌曲？无论所说的崇拜是什么，重要的是要做出区别，即在大多数情况下，有两类人，一类人的行动明显是专门负责演奏音乐，可以称他们为音乐司仪，我们将称之为音乐家；另一类人的活动具有插曲特征，或辅助性质，或次要性质，他们也参与音乐演奏，我们则称之为……音乐人。②\n\n显然，所有的感性记载提出的不是同类乐器学问题：正如乐器在音乐中是不可缩减的工具一样，包括声音、话筒或计算机，造型艺术的工具性（instrumentalité）必须有待展示。初次分析，我们似乎可以观赏一幅画或一尊雕塑而无须了解它们生产的条件，无须“演奏”它们，像演奏音乐那样去演奏绘画作品。\n\n① 参见上文，“朗读者配音序曲”；也可参见尼古拉·多南的《音乐学乐器》，载《水印》，《面向被组织的视听：“标的视听”计划的若干方面，声学与音乐协调研究所》 (« Towards organised listening : some aspects of the “SignedListening”project，Ircam»)，音响组织，2004年4月，剑桥大学出版社，待出版。还有《排练工作：两种视听装置，音乐再生产的两个时代，从一战到二战后》，《循环》第14卷第1期，蒙特利尔大学出版社，2003年。\n\n② 鲁热(Gilbert Rouget)，《音乐与迷幻》，第 202 页。\n\n第二章装备仪器\n\n087","previous_page":86,"next_page":88}