Music in Time : Phenomenology , Perception , Performance
Music in Time : Phenomenology , Perception , Performance
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时间中的音乐:现象学,感知,表演
DOI：
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发表时间：
2020
期刊：
影响因子：
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通讯作者：
Rehding
中科院分区：
文献类型：
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作者：
Alexander;Rehding
[1]《音乐时代》中收集的文章来自于一次为庆祝克里斯托弗·哈斯蒂的工作而组织的会议，该作品集本身就像一个节日。编辑的序言和许多文章都把Hasty 1997年的书《节拍即节奏》（Meter as Rhythm）作为对音乐分析/理论学术的挑战，以考虑音乐的暂时性--其本质是过程性的。正如对这类文集的预期，这些文章以各种方式探讨这一主题。曾是哈斯蒂的同事或学生的音乐学、音乐理论和民族音乐学学者有：珍妮·班贝格、斯蒂芬·布鲁姆、马修·巴特菲尔德、斯科特·伯纳姆、马丁·布罗迪、尼古拉斯·库克、布赖恩·赫尔斯、苏珊·麦克拉里、尤金·蒙塔古、罗伯特·莫里斯、尤金·纳莫尔、珍妮特·施马尔费尔特和劳伦斯·兹比科夫斯基。我的论文本身不是一篇评论。而不是提供任何形式的评估，我专注于音乐的时间性，作为音乐分析/理论研究的重点，如何在20世纪末和21世纪世纪的音乐方法中产生共鸣。在我的文章中，我把对文集中每一篇文章的评论编织到这个更广泛的主题中。
[1] The essays collected in Music in Time grew out of a conference organized to celebrate the work of Christopher Hasty, with the collection itself serving as a festschrift. The editor’s preface and many of the essays take Hasty’s 1997 book, Meter as Rhythm, as challenging music analytical/theoretical scholarship to take account of music’s temporality—of its nature as processual becoming. As is expected for such collections, the essays approach this topic in various ways. Scholars in musicology, music theory, and ethnomusicology who have been colleagues or students of Hasty’s contributed essays: Jeanne Bamberger, Stephen Blum, Matthew Butterfield, Scott Burnham, Martin Brody, Nicholas Cook, Brian Hulse, Susan McClary, Eugene Montague, Robert Morris, Eugene Narmour, Janet Schmalfeldt, and Lawrence Zbikowski. My essay is not a review per se. Rather than offering any sort of assessment, I focus instead on how music’s temporality, as a focus of music analytical/theoretical research, resonates in and with late twentiethand twenty-first-century approaches to music. Throughout my essay, I weave comments about each of the essays of the collection into this broader theme.