Как работает музыка - читать онлайн книгу. Автор: Дэвид Бирн cтр.№ 111

Katz, Mark, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010.

Milner, Greg, Perfecting Sound Forever: An Aural History of Recorded Music, Faber & Faber, 2010.

Jones, George, Anniversary: Ten Years of Hits, CD, Sony, 1982.

Глава шестая

Emerick, Geoff; and Massey, Howard, Here, There, and Everywhere: My Life Recording the Music of the Beatles, Gotham, 2007.

Davis, Miles; and Troupe, Quincy, Miles: The Autobiography, Simon & Schuster, 1990.

Chernoff, John Miller, African Rhythm and African Sensibility, University of Chicago Press, 1981.

33 1/3 (Thirty-Three and a Third) is a series of books written about music albums, featuring one author per album, published by Bloomsbury Publishing.

Godard, Jean-Luc, director, Sympathy for the Devil, film, 1968.

Глава седьмая

Jacobs, Jane, The Death and Life of Great American Cities, Modern Library, 2011.

Eggers, Dave, What is the What, Vintage, 2007.

Mercado, Monina Allarye, People Power: The Philippine Revolution of 1986: An Eyewitness History, Writers & Readers, 1987.

Solnit, Rebecca, A Paradise Built In Hell: The Extraordinary Communities That Arise in Disaster, Viking, 2010.

Veloso, Caetano, Tropical Truth: A Story of Music and Revolution in Brazil, Da Capo Press, 2003.

Глава восьмая

Krasilovsky, M. William; Shemel, Sidney; and Gross, John M., This Business of Music, Billboard Books, 2007.

Dannen, Fredric, Hit Men: Power Brokers and Fast Money Inside the Music Business, Vintage, 1991.

Stokes, Geoffrey, Starmaking Machinery: The Odyssey of an Album, Bobbs-Merrill, 1976.

Глава девятая

Wilson, E. O., On Human Nature, Harvard University Press, 2004.

Guillermoprieto, Alma, Samba, Vintage, 1991.

Tiger, Lionel, Men in Groups, Transaction Publishers, 2004.

Глава десятая

Carey, John, What Good are the Arts?, Oxford University Press, 2010.

Robinson, Ken, Out of Our Minds: Learning to Be Creative, Captone, 2011.

The Trips Festival, DVD, directed by Eric Christensen (2008; Trips Festival).

Ross, Alex, Listen to This, Farrar, Straus and Giroux, 2011.

Friedman, B. H., ed., Give My Regards to Eighth Street: Collected Writings of Morton Feldman, Exact Change, 2004.

Roberts, John Storm, The Latin Tinge: The Impact of Latin Music on the United States, Oxford University Press, 1999.

Krich, John, Why Is This Country Dancing?: A One-Man Samba to the Beat of Brazil, Cooper Square Press, 2003.

Schafer, R. Murray, The Thinking Ear: Complete Writing on Music Education, Arcana Editions, 1986.

Dissanayake, Ellen, Homo Aestheticus: Where Art Comes From and Why, University of Washington Press, 1995.

Kuh, George D.; Tepper, Steven J., “Let’s Get Serious About Cultivating Creativity”, The Chronicle of Higher Education, September 4. chronicle.com/article/Lets-Get-Serious-About/128843.344.

Глава одиннадцатая

Walter Murch interview by Geoff Manaugh, “The Heliocentric Pantheon: An Interview with Walter Murch,” BLDG Blog, April, 2007. bldgblog.blogspot.com/2007/04/heliocentric-pantheon-interview-with.html.

Wittkower, Rudolf, Architectural Principles in the Age of Humanism, W. W. Norton & Company, 1971.

Blesser, Barry, Spaces Speak, Are You Listening?: Experiencing Aural Architecture, MIT Press, 2009.

Mitrovic, Branko, Learning from Palladio, W. W. Norton & Company, 2004.

Pontynen, Arthur, For the Love of Beauty: Art History, and the Moral Foundations of Aesthetic Judgment, Transactions Publishers, 2006.

Cage, John, “Experimental Music,” an address given at the convention of the Music Teachers National Association in Chicago in the winter of 1957. kim-cohen.com/seth_texts/artmusictheorytexts/Cage%20Experimental%20Music.pdf.

Gill, Kamraan Z.; Purves, Dale, “A Biological Rationale for Musical Scales,” Duke University Center for Cognitive Neuroscience and Department of Neurobiology, as published on plsone.org, December 3, 2009. plosone.org/article/info: doi%2F10.1371%2Fjournal.pone.0008144.

Molnar-Skazaks, Istvan; Overy, Katie, “Music and Mirror Neurons: From Motion to ‘E’motion,” Social Cognitive and Affective Neuroscience vol. 1, no. 3, 2006, p. 235–241.

Balkwill, Laura-Lee; and Thompson, William Forde, “A Cross Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues,” Music Perception: An Interdisciplinary Journal vol. 17, Fall 1999.

Bowling, Daniel L.; Choi, Jonathan D.; Gill, Kamraan; Prinz, Joseph; and Purves, Dale, “Major and Minor Compared to Excited and Subdued Speech,”Journal of the Acoustical Society of America vol. 127, no. 1, 2010. p. 491–503.

Levitin, Dan, This is Your Brain on Music: The Science of a Human Obsession, Plume/Penguin, 2007.

Sacks, Oliver, Musicophilia, Knopf, 2007.

Cardew, Cornelius, Stockhausen Serves Imperialism, Latimer New Dimensions, 1974.

Zimmermann, Walter, Desert Plants: Conversations with Twenty-three American Musicians, A.R.C. Publications, 1976.

Coitt, Jonathan, Stockhausen: Conversations with the Composer, Pan Books, 1974.

Глава первая

Talking Heads, “A Clean Break (Let’s Work) Live at CBGB’s, 10/10/1977,” Bonus Rarities and Outtakes, 2006, Sire Records.

HeyBale, “Honky Tonk Mood,” The Last Country Album, 2008, Shuffle 5 Records.

Various artists, “Wenlega (a Mossi Dance),” Burkina Faso / Savannah Rhythms, 1981, Nonesuch Records.

Thomas Tallis, “Spem in Alium,” Tallis: Spem in Alium, Etc., 1985, Gimell Records.

Johann Sebastian Bach, composer; Bernard Lagacé, organist, “Fantasia super Jesu meine Freude, Chorale Prelude BWV 713,” Toccata, Adagio and Fugue in С Major BWV 564 and Other Early Works, Vol. 2,1998, Analekta.

Wolfgang Amadeus Mozart, composer; Hansgeorg Schmeiser, flutist; Ingomar Rainer, harpsicordist, “Sonata in F KV 13: Allegro,” Mozart: The Early Sonatas, 2006, Nimbus Records.