{"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":"240 / 168","pdf_page":260,"physical_index":260,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e97b55fb5d1634005bf650ef53ddcbb99140e6a8bb76154dcee7d89540a8b8be"},"chapter":"非人：漫谈时间","content":"中世纪的哲学家把博雅教育分成两类：三艺，或者应用于语言的理性才艺（语法、修辞和雄辩术）和四艺，或者纯理性的才艺…今天我们称之为科学。音乐归于后一类，与数学、几何学和天文学并列。\n\n而在我们的时代，人们倾向于把音乐归于三艺之列。至少在我看来，人们太过注重大约可以被称为音乐语法的东西。\n\n在不同的时期和不同的地方，音乐要么被视为一种艺术，要么被视为一种科学。实际上，音乐既属于前者也属于后者。19世纪末，让·沃荣斯基(Jean Wronsky)和卡米耶·杜鲁特(Camille Durutte)在他们的《论和声》(Traitéd'Harmonie)里发明了新词汇，用以界定作为“艺术-科学”的音乐，他们将之定义为“声音里蕴含的理智肉身化”。(《文集》,p.102-103)\n\n瓦雷兹为概念和肉身之间的这种结合给出了一个例子。他在好几个作品里使用录制的汽笛声，然后他又把这种合成的声音放进《电子音之诗》(Poème électronique，1958)里。启发他使用汽笛声的是他对亥姆赫兹《声音的生理学理论》(Théoriephysiologique du son)的阅读，在这本书里有关汽笛声的经验被用于创立音色的和声理论。这里大家看到：对被视为可变化的一种声音音高功能的偏移的研究如何可以既有助于批评对声音算术式的再现又有助于扩大对作曲家开放的音域。\n\n240\n\n168\n\n/非人：漫谈时间","previous_page":259,"next_page":261}