{"title":"《巡回聆听:全球60年代的中国流行音乐》安德鲁·琼斯著(书评)","authors":"A. Field","doi":"10.1353/cri.2020.0011","DOIUrl":null,"url":null,"abstract":"How and why do we hear particular timbres as representative of particular historical moments, or even as heralds of epochal historical change? Do particular eras really have a signature sound, and, if so, how do we access the musical past and characterize its tone? Is the sound of an era an ontological reality, unfolding in the present, or can it be grasped and narrated only after the fact? (p. )","PeriodicalId":44440,"journal":{"name":"China Finance Review International","volume":null,"pages":null},"PeriodicalIF":9.0000,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"Circuit Listening: Chinese Popular Music in the Global 1960s by Andrew F. Jones (review)\",\"authors\":\"A. Field\",\"doi\":\"10.1353/cri.2020.0011\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"How and why do we hear particular timbres as representative of particular historical moments, or even as heralds of epochal historical change? Do particular eras really have a signature sound, and, if so, how do we access the musical past and characterize its tone? Is the sound of an era an ontological reality, unfolding in the present, or can it be grasped and narrated only after the fact? (p. )\",\"PeriodicalId\":44440,\"journal\":{\"name\":\"China Finance Review International\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":9.0000,\"publicationDate\":\"2022-05-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"China Finance Review International\",\"FirstCategoryId\":\"96\",\"ListUrlMain\":\"https://doi.org/10.1353/cri.2020.0011\",\"RegionNum\":1,\"RegionCategory\":\"经济学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"BUSINESS, FINANCE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"China Finance Review International","FirstCategoryId":"96","ListUrlMain":"https://doi.org/10.1353/cri.2020.0011","RegionNum":1,"RegionCategory":"经济学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"BUSINESS, FINANCE","Score":null,"Total":0}
Circuit Listening: Chinese Popular Music in the Global 1960s by Andrew F. Jones (review)
How and why do we hear particular timbres as representative of particular historical moments, or even as heralds of epochal historical change? Do particular eras really have a signature sound, and, if so, how do we access the musical past and characterize its tone? Is the sound of an era an ontological reality, unfolding in the present, or can it be grasped and narrated only after the fact? (p. )
期刊介绍:
China Finance Review International publishes original and high-quality theoretical and empirical articles focusing on financial and economic issues arising from China's reform, opening-up, economic development, and system transformation. The journal serves as a platform for exchange between Chinese finance scholars and international financial economists, covering a wide range of topics including monetary policy, banking, international trade and finance, corporate finance, asset pricing, market microstructure, corporate governance, incentive studies, fiscal policy, public management, and state-owned enterprise reform.