Каприччиозо: За пределами стиля

 

Стр. 325 ‘Always remember that a theme is, after all, only a succession of notes’: Copland (1957), pp. 19–20. • Стр. 329 ‘A classical composer did not always need themes’: quoted in Rothstein (1996), p. 96. • Стр. 333 ‘After sufficient training, GenJam’s playing’: Biles (1994), p. 136. ‘it does not please us particularly well’: Spector and Alpern (1994), p. 7. • Стр. 335 ‘a decline in morals’: Scruton (1997), p. 502. • Стр. 336 ‘it has become increasingly clear that the coherence systems’: Becker and Becker (1979/1983), pp. 34–5. • Стр. 338 ‘traditional modes of deviation are exaggerated to extremes’: Meyer (1956), p. 71. ‘Modulations, cadences, intervals and harmonious progressions’: Hanslick (1891), p. 81. ‘unifies all elements so that their succession and relation’: A. Schoenberg, Style and Idea, ed. L. Stein, Faber & Faber, London, 1975, p. 279. • Стр. 339 ‘What would remain of the art of painting’: Scruton (1997), p. 291. • Стр. 341 ‘makes ever heavier demands upon the training’: Babbitt (1958), Доступно на http://www.palestrant.com/ babbitt.html. ‘I dare suggest that the composer would do himself ’: ibid. • Стр. 343 ‘the best music utilizes the full potential of our cognitive resources’: Lerdahl, in Sloboda (ed.) (1988), p. 255.

 

Парландо: Почему музыка говорит с нами

 

Стр. 355 ‘alone in the world with his more or less unintelligible language’: quoted in Cooke (1959), p. ix. • Стр. 358 ‘Whenever someone spoke to me’: quoted in M. Zemanová, Janᡠcek: A Composer’s Life, John Murray, London, 2002, p. 75. • Стр. 359 ‘Nations creates music, composers only arrange it’: quoted in F. Bowers, Scriabin: A Biography, 2nd revised edn, Dover, Mineola, New York, 1996, p. 20. • Стр. 362 ‘an intensified version of the actual sounds’: Grove’s Dictionary of Music and Musicians, Vol. 5, Macmillan, New York, 1935, p. 605. • Стр. 363 ‘If I took a Czech, or an English, French or other folksong’: in Z. E. Fischmann (ed.), Janᡠcek‑Newmarch Correspondence, Kabel, Rockville, 1989, p. 123. • Стр. 373 ‘closer to the surface’: Lerdahl (2001), p. 143. • Стр. 374 ‘a brilliant creative work’: quoted in Sloboda (1985), p. 260. • Стр. 380 ‘can prime representations of meaningful concepts’: Koelsch et al. (2004), p. 306.

 

Сериозо: Смысл музыки

 

Стр. 381 ‘It is easier to pin a meaning‑word on a Tschaikovsky’: Copland (1957), pp. 10–11. ‘Is there meaning in music?’: ibid., p. 9. ‘If a composer could say what he had to say in words’: attributed to Mahler in a letter to Max Marschall, 26 March 1896. • Стр. 382 ‘People usually complain that music is too many‑sided’: quoted in L. Botstein, ‘Recreating the career of Felix Mendelssohn’, in Mendelssohn and His World, ed. R. L. Todd, Princeton University Press, Princeton, 1991, p. 60. ‘Language is a common and practical element’: P. Valéry, Pure Poetry: Notes for a Lecture, quoted in The Creative Vision, ed. H. M. Black and Salinger, Grove Press, New York, 1960, pp. 25–6. ‘all art constantly aspires towards the condition of music ‘: W. Pater, The Renaissance: Studies in Art and Poetry, Macmillan, London, 1873, p. 111. ‘If, as is nearly always the case’: I. Stravinsky, Igor Stravinsky: An Autobiography, W. W. Norton, New York, 1962, p. 53. ‘Strictly speaking you cannot write about music’: quoted in Critchley and Henson (1977), p. 217. • Стр. 383 ‘Music expresses, at different moments’: Copland (1957), p. 10. ‘music which always says the same thing’: ibid., p. 11. • Стр. 384 ‘when men hear imitations, even apart from the rhythms’: Aristotle, Politics 8, part V, transl. B. Jowett. ‘has the power either to improve or to debase’: quoted in Hindemith (1961), p. 8. ‘Let me make the songs of a nation’: quoted in Grout (1960), p. 8. ‘when there are no words, it is very difficult’: Plato, Laws Book II, transl. B. Jowett. ‘music, like humus in a garden soil’: Hindemith (1961), p. 6. • Стр. 385 ‘The riches of music are so excellent’: M. Luther, Foreword to G. Rhau, Symphoniae iucundae (1538), quoted in H. Lockyer, Jr., All the Music of the Bible, Hendrickson, Peabody, 2004, p. 144. ‘a discipline, and a mistress of order and good manners’: quoted in J. E. Tarry, ‘Music in the educational philosophy of Martin Luther’, Journal of Research in Music Education 21, 355–65 (1973). ‘turning modern men, women and children back to the stages’: Anon., ‘Condemns age of jazz’, New York Times 27 January 1925, p. 8; quoted in Merriam (1964), p. 242. • Стр. 387 ‘the loveable glad man who paces hale and hearty’: R. Wagner, Judaism in Music and Other Essays, transl. W. A. Ellis, London, 1894, pp. 222–3. ‘Schumann’s masculine personae thus coalesce under a feminine sign’: Kramer (2002), p. 113. • Стр. 388 ‘One day the children’s children of our psychologists’: A. Schoenberg, in Style and Idea, ed. L. Stein. Faber & Faber, London, 1975; quoted in Cooke (1959), p. 273. • Стр. 390 ‘only enhance[s] the presence of meaning as an issue or problem’: Kramer (2002), p. 16. • Стр. 391 ‘who go so far as to call every transposition a rank violation’: Révész (2001), p. 113. ‘tender, soft, sweet, effeminate’: quoted in Duffin (2007), p. 44. • Стр. 393 ‘leads some people into a pseudo feeling of profound melancholy’: Hindemith (1961), p. 47. ‘One is bound to regard anyone who reacts in this way’: Cooke (1959), p. 23. ‘The truly musical person, with a normal capacity’: ibid., p. 22. • Стр. 394 ‘there is a tremolando passage of the kind’: Scruton (1997), p. 43. ‘Emotional responses to music are neither correct nor incorrect’: Raffman (1993), p. 59. • Стр. 395 ‘The listener thus makes direct contact’: Cooke (1959), p. 19. • Стр. 396 ‘there are too many performers and composers whose lives’: Blacking (1987), p. 40. • Стр. 398 ‘the art of pleasing by the succession and combination’: C. Burney, ‘Essay on musical criticism’, introduction to his General History of Music, Book III, 1789; quoted in Grout (1960), p. 451. • Стр. 401 ‘One could not better define the sensation produced by music’: I. Stravinsky, Chronicle of My Life, Gollancz, London, 1936, p. 93. • Стр. 407 ‘A more helpful distinction than classical and rock music’: quoted in Guardian Review 27 June 2009, p. 12. ‘in contrast to that of the European executant musician’: J. Kunst, Music in Java, Martinus Nijhoff, The Hague, 1949, p. 401.

 

 

Эпилог: Состояние музыки

 

Стр. 409 ‘I believe that every scientist who studies music’: Sloboda (2005), p. 175. • Стр. 411 ‘The idea that educationalists must be converted’: Blacking (1987), p. 120. ‘something for the sake of which it is worthwhile’: F. Nietzsche, Beyond Good and Evil, transl. R. J. Hollingdale, Penguin, London, 2003, p. 111.

 

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⁂

[1] По результатам последнего исследования “сложности” музыкальных стилей, оркестр гамелан занял первое место: это напоминание о том, что мы не должны объяснять географическую повсеместность западной музыки ее превосходством.

 

[2] Философ Стефен Дейвис сделал именно это в просветительской и освобождающей от догм дискуссии. «Мы должны признать оригинальность и значительность вклада Кейджа в наше понимание музыки и философии искусства. «4’33», – сказал он, – уничтожает границы между шумом и музыкой», но «похоже включает в себя больше от последней».

 

[3] Есть смысл утверждать, что жизнеспособное определение музыки не должно быть всеобъемлющим, достаточно просто указать на важнейшие отличительные особенности этого вида искусства. Разумеется, такое определение порождает вопросы, но мне нравится идея, что нам не нужно брать на себя обязательство проводить экстремальные эксперименты по составлению определений.

 

[4] Однако мне не нравится другое замечание Скрутона – о том, что музыка, как и мораль, в данный момент приходит в упадок, – читайте на стр. 335.

 

[5] Какое счастье, что мы перестали быть частью культуры, которая дала право одному из первых философов музыки Эдуарду Ганслику в 1891 году заявить следующее: аборигены островов австралийского Южного Моря «гремят деревянными палками и кусочками металла под аккомпанемент душераздирающих воплей» и получается «совершенно немузыкально».

 

[6] Одна теория, выдвинутая психологами Ванессой Сламинг и Джоном Мэннингом, пожалуй, может вас позабавить: в 2000 году они, посетив одиннадцать концертов классической музыки, определили, что на передних рядах, расположенных ближе к оркестру (в котором, кстати, задействованы музыканты мужского пола) сидит больше женщин, чем на задних рядах. Они назвали это пристойной формой женской истерии, которая в свое время бушевала на концертах Битлз. Сламинг и Мэннинг однако признали, что гипотеза должна принять во внимание, какое количество женщин из присутствующих находится в менопаузе. Я подозреваю, что им было нелегко добыть такую информацию на выступлении симфоничекого оркестра.

 

[7] Видимо, песни китов все‑таки обладают иерархической структурой. Так они не превращаются в «музыку», но на шаг приближаются к этому статусу. Некоторые философы музыки настаивают, что музыка по определению может принадлежать только людям, потому что прослушивание музыки требует работы воображения.

 

[8] Лингвист У. Текумсе Фитч считает, что приматы, которые периодически спонтанно начинают весело барабанить, похожи на людей, исполняющих перкуссионную музыку. Однако мы не знаем, могут ли человекообразные барабанщики «чувствовать ритм» – см. стр. 225–277.

 

[9] Нет никакого противоречия между теориями происхождения музыки как инструмента социальной сплоченности и теорией полового отбора. Люди, которые занимают ведущее положение в социальном музицировании, получают новый статус. Ранним утром каждый представитель общины должен посещать эти коллективные сессии, потому что пение помогает сонным мужчинам сохранять состояние бодрствования и быть начеку в случае атаки вражеского племени. В данном случае очевидно, что музыка обладает ценностью в контексте выживания. Действительно, было бы странно посвящать столько времени занятию, которое не имело бы никакой адаптивной цели.

 

[10] Некоторые фрейдовские психологи, например Хайнц Кохут, перевернули этот аргумент с ног на голову, предположив, что музыка является формой инфантильной регрессии, пусть даже социально и эстетически приемлемой.

 

[11] Часто указывают, что две границы видимого спектра света – красный и фиолетовый – подходят друг другу таким образом, что спектр составляет полный круг. Не существует объективной причины, по которой это происходит: частоты света, соответствующие двум цветам, не связаны друг с другом. Тем не менее кругообразность цветового пространства является подлинным феноменом восприятия, она стала большим подспорьем для теоретиков цвета, которые создали закрытые «цветовые круги» для классификационных целей. Все же эти конструкции искусственны: «цвет», когда видимый свет превращается в инфракрасное излучение, не похож на цвет, когда фиолетовый превращается в ультрафиолет. В любом случае здесь мы не имеем дела с циклическим повторением, как в случае с высотой тона: у цвета в лучшем случае есть всего «одна октава». Тем не менее полумистическая убежденность в связи цвета и звука с волновыми явлениями подтолкнула Исаака Ньютона провести аналогию между семью сегментами радуги и семью нотами музыкальной гаммы. Это независимая ньютоновская схема цветовых категорий до сих пор преподносится как объективный факт.

 

[12] В своей смелой и увлекательной книге «Как равномерная темперация уничтожила гармонию» («How Equal Temperament Ruined Harmony») музыковед Росс Даффин полагает отличия равномерной темперации настолько очевидными, что не считает нужным привлекать ни одного теста на восприятие в поддержку своей идеи. Единственное доказательство, которое он приводит, это записи о реакции людей на эксперименты с генераторами тона, что в контексте акустики не имеет никакого смысла.

 

[13] Как я уже сказал, на самом деле существует семь разных типов минорной гаммы для каждой тональности.

 

[14] Несложно понять, почему так происходит. Поскольку обертон – это простое удвоение основной частоты, четвертый обертон будет больше в пять раз. Если получившуюся высоту звука опустить на две октавы, разделив частоту на 2²=4, чтобы вернуть звук в диапазон октавы выше основной частоты, то мы получим частоту 5/4 от основной.

 

[15] То же самое касается и изобразительного искусства. Например, два неоимпрессиониста, Поль Синьяк и Жорж Сёра, пользовались плохо продуманной оптической теорией, чтобы объяснить свои эксперименты с цветом. Интересно, что научные идеи Германа фон Гельмгольца смогли адаптировать для себя и художники, и музыканты.

 

[16] Некоторые тексты беспечно утверждают, что кварта и малая терция включены в натуральный звукоряд, так как интервал между вторым и третьим обертоном (соль и до) представляет собой кварту, а интервал между четвертым и пятым обертонами (ми и соль) – это малая терция. Но эти интервалы слышны по отношению к основной частоте до – то есть мы слышим третий обертон как октаву до, а не как четвертую ноту гаммы соль. На самом деле 4 и малая 3 диатонической гаммы просто не входят в натуральный звукоряд.

† Над такими заявлениями хочется посмеяться, но я никак не могу перестать удивляться тому, что пение лесной птицы очень похоже на заводной джазовый рифф в блюзовой гамме: прослушайте замедленную версию песни бурого короткоклювого дрозда на www.whybirdssing.com. Конечно, это совпадение, но совпадение удивительное. Даже Дарвин поддался этой идее, ссылаясь на Гельмгольца и утверждая, что звуки животных можно выразить через ноты «человеческих музыкальных гамм», – что бы он ни имел в виду!

 

[17] На самом деле, не существует единой традиции индийской музыки. Традиций много; ведь так же нельзя говорить и о единой традиции европейской музыки.

 

[18] Музыковед Дэвид Гурон предполагает, что если когда‑то и существовало генетическое преимущество, дарованное абсолютным слухом, то практика музицирования могла ослабить его, потому что музыка скорее тяготеет к относительному или интервальному слуху. По этой причине абсолютный слух стал довольно редкой способностью.

 

[19] В то же время абсолютный слух может быть полезным для музыкантов. Например, при игре на медных музыкальных инструментах, для которых строй в основном связан с обратной связью между мышцами и ухом, чем с правильным положением пальцев, музыканты с абсолютным слухом легче преодолевают незнакомые скачки интервалов, часто встречающиеся в атональной и хроматической музыке, поскольку изначально понимают, к какой ноте стремятся; то же можно сказать о певцах.

 

[20] Я не имею в виду, что вы сразу выпалите: «Ага, это же до мажор» (если, конечно, у вас не абсолютный слух). Я говорю о том, что вы услышите фрагмент мелодии и почувствуете, что он закреплен за тоникой, которая располагается на два целых тона ниже первой