{"title":"《O》的三种翻译:几点思考与解释","authors":"M. Fowler","doi":"10.1353/pnm.2006.0011","DOIUrl":null,"url":null,"abstract":"A study seeks to capture Benjamin Boretz's piano work O in another translation, or express it in another form that embraces the notion of multiple experiences expressed simultaneously. The translations of O are all built around an analysis of the phrasing of the original piano work, which is partitioned into twenty-two phrases and presented as a poem, a schema for spatial sound diffusion, and as an architectural form.","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"33 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Three Translations of O: A Few Thoughts and Explanations\",\"authors\":\"M. Fowler\",\"doi\":\"10.1353/pnm.2006.0011\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"A study seeks to capture Benjamin Boretz's piano work O in another translation, or express it in another form that embraces the notion of multiple experiences expressed simultaneously. The translations of O are all built around an analysis of the phrasing of the original piano work, which is partitioned into twenty-two phrases and presented as a poem, a schema for spatial sound diffusion, and as an architectural form.\",\"PeriodicalId\":102986,\"journal\":{\"name\":\"Perspectives of New Music\",\"volume\":\"33 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-06-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Perspectives of New Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/pnm.2006.0011\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Perspectives of New Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/pnm.2006.0011","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Three Translations of O: A Few Thoughts and Explanations
A study seeks to capture Benjamin Boretz's piano work O in another translation, or express it in another form that embraces the notion of multiple experiences expressed simultaneously. The translations of O are all built around an analysis of the phrasing of the original piano work, which is partitioned into twenty-two phrases and presented as a poem, a schema for spatial sound diffusion, and as an architectural form.
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