{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","id":"ca7a386a-a284-41ec-b146-be626cc2ac01","uuid":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","normalized_title":"非人漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","isbns":["9787562155560","9782252039427"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":325,"navigation_url":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E4%BA%BA%EF%BC%9A%E6%BC%AB%E8%B0%88%E6%97%B6%E9%97%B4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ca7a386a-a284-41ec-b146-be626cc2ac01","page_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/search"},"page":{"printed_page":166,"pdf_page":257,"physical_index":257,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a235b754206c8d037c9e649f556c7d00ab322628d2b77eca3ed21828519cc3c6"},"chapter":"非人：漫谈时间","content":"这种颜色的自动构建(瓦雷兹喜欢将之比喻为“结晶”)尤其意味着相较于被传统证实的伟大音乐形式—特别是奏鸣曲形式—而言的解放。当代音乐拆除了以旋律构建的情节。在这种情节里声音物质从属于对一次情感的叙述、一次历险的展示。史诗通过它的和谐的对等物（即解析[résolution]）把作品时间封闭在一个由开始、发展和结束组合的过程里，因而史诗情节的矛盾发展不再组织音乐的时间性。当代音乐展示的是声音事件的时间性，它更接受时间倒错(anachronie)或者时间错置（parachronie)，但不接受贯时性（diachronie)。这正是瓦雷兹以“声音空间”(espace sonore)之名指出的东西。“声音空间”于1958年由勒·柯布西耶(Le Corbusier)在布鲁塞尔建造的飞利浦馆(PavillonPhilips)里实验展出。这是第一个非物质的展览。\n\n在一篇题为“1980年代:没有乌托邦”(Des années 80:sansutopie)(发表在《休止符》，I,1985)的文章里，伊万卡·斯托雅诺娃援引热拉尔·格里塞写道：\n\n发展(développement)概念渐渐被历程(processus)\n\n听从/237\n\n一体的。我并不从主观印象出发使用声音，如同印象派画家选择颜色时做的那样。在我的音乐作品里，声音是内在于结构的一个部分。(《文集》，p.124)\n\n166","previous_page":165,"next_page":167}