{"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":9,"pdf_page":24,"physical_index":24,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7bd343249e7cef0b3c460e2fe3045aa6b0edefadf10a51e24835437e2599afe6"},"chapter":"第五章 析取的合取","content":"3.音乐的天赋和普遍艺术的技术变异\n\n朗读者不存在没有乐器的音乐哪怕是这个肌肉的工作，发声器官通过它变成一种乐器，进而对其进行加工和调试，然后还要演奏。然后才能在乐谱上进行谱曲“乐谱纸”，“桌上”工作或“唱诗”工作独立于任何听觉工具。这不，数十年来，人们用仪器和机器来创作音乐—从“罐头音乐”（Muzak）到皮埃尔·布雷(PierreBoulez）的应答轮唱，中间还夹着说唱音乐。也罢。\n\n有什么特色吗？无疑没什么新颖之处，不就是一堆零零整整的问题吗？而对于这些问题，如果有足够的手段，就能更清晰地跟踪它们的进展因为音乐总是中继的，它只能通过某个技术系统才能发生（既包括乐器也包括书写工具或收听技术）。\n\n当然，音乐和其他艺术、其他人类活动分享着这种变异。\n\n口头语言的语法化（随着字母而出现，处于线形文字B和雅典人采用阿提卡字母表之间）也在音乐中产生，作为音乐时间的一种空间图式化，中间经历了中世纪记谱的出现与变迁(纽玛记谱法、纵裂性谱表、曲式记谱等）。经过分解（dé-composé），音乐流（flux）可以进行记录，也就是说通过完全独立于乐器的书写重新谱写（re-composé)，而且可以说不受其自身时间的限制。从这般打开的多种可能中，尤其引发了学院复调音乐的产生，即所谓的圣母学院（约为公元1200年），一般说来，这就是我们所说的西方博学音乐①。\n\n009\n\n朗读者配音序曲","previous_page":8,"next_page":10}