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引用次数: 1
摘要
格伦·古尔德(Glenn Gould)那把松动的钢琴椅发出的吱吱声,历来都是致歉的内页笔记和录音室回忆录的主题。这些椅子的吱吱声在这里被认为是古尔德身体的“声音运动”。本文对勋伯格的作品《Sechs kleine klavierst cke》(作品19号)的乐谱进行了三角测量。1,发表了对其独特的节奏展开的分析,以及对古尔德1965年9月对该作品的记录的新的微时间测量。为了量化桑登的“身体活力”概念,光谱工具被用来对麦克风捕捉到的所有声音进行适当的普查,以便绘制它们有节奏的相互作用。古尔德的录音中有一个显著的“裂缝”,与已发表的关于作品中出现的公制清晰度过程的观察有关,古尔德的一个声乐阐述被认为是对勋伯格音高材料的补充。用微计时数据叠加分析文献揭示了成分的公制澄清轨迹与古尔德物理运动的减少之间的相关性。这些发现被用来质疑伴随记谱音乐录制的无记谱声音的普遍和令人不安的压制。认识到通常被边缘化的声音,本研究融合了对勋伯格作曲的理论观察和古尔德肉体的音频人工制品。
The audible creaking of Glenn Gould’s loose-jointed piano chair has historically been the subject of apologetic liner notes and recording studio memoirs. These chair creaks are here recognized as “sounded movements” of Gould’s body. This article triangulates the score of Schoenberg’s Sechs kleine Klavierstücke, op. 19, no. 1, published analyses of its unique rhythmic unfolding, and new micro-temporal measurements of Gould’s September 1965 recording of the work. Quantifying Sanden’s concept of “corporeal liveness,” spectrographic tools are used to generate a proper census of all the sounds captured by the microphone in order to map their rhythmic interaction. A notable “creak gap” in Gould’s recording is linked to published observations regarding the work’s process of emerging metric clarity, and one of Gould’s vocal elaborations is recognized for its augmentation of Schoenberg’s pitch material. Overlaying analytical literature with microtiming data reveals a correlation between the composition’s trajectory of metric clarification and the decrease in Gould’s physical motion. The findings are used to question the pervasive and disturbing suppression of non-notated sounds that accompany the recording of notated music. Recognizing sounds that are normally marginalized, this study fuses theoretical observations about Schoenberg’s composition with the audio artifacts of Gould’s corporeality.
期刊介绍:
Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.