第一章　当下的音乐

[1] Small, Musicking: The Meanings of Performing and Listening (Middletown, CT: Wesleyan University Press, 1998). Sartre, Psychology of the Imagination (London: Methuen, 1972), 224.

[2] Steinhardt, Indivisible by Four: A String Quartet in Pursuit of Harmony (New York: Farrar Straus Giroux, 1998). He refers to the Quartet in G major K 327, but there is no such quartet; the only mature one in G major is K 387.

[3] Schutz, ‘Making music together: A study in social relationship’, in Arvid Brodersen (ed.), Collected Papers II: Studies in Social Theory (The Hague: Martinus Nijhoff, 1967), 159–78 [175].

[4] Ingold and Hallam (eds), ‘Creativity and cultural improvisation: An introduction’, in Elizabeth Hallam and Tim Ingold (eds), Creativity and Cultural Improvisation (Oxford: Berg, 2007), 1–24 [6, 10–11, 19].

[5] Gergen, Relational Being: Beyond Self and Community (New York:Oxford University Press, 2009), 30.

[6] Brown quoted: Arthur Knight, ‘Jammin’ the blues, or the sight of jazz, 1944’, in Krin Gabbard (ed.), Representing Jazz (Durham, NC: Duke University Press, 1995), 11–53 [16]. Sidran, Black Talk (New York: Holt, Rinehart and Winston, 1971), 6.

[7] Boulez quoted: Michael Oliver, Settling the Score: A Journey through the Music of the Twentieth Century (London: Faber, 1999), 147. Mingus quoted: Barry Kernfield, What to Listen for in Jazz (New Haven: Yale University Press, 1995), 119. Nettl quoted: The Study of Ethnomusicology: Twenty-nine Issues and Concepts (Urbana: University of Illinois Press, 1983), 40.

[8] Berliner, Thinking in Jazz: The Ininite Art of Improvisation (Chicago: University of Chicago Press, 1994), 102. Nooshin, ‘Improvisation as “other”: Creativity, knowledge and power—The case of Iranian classical music’, Journal of the Royal Musical Association 128/2 (2003), 242–96 [277].

[9] Armstrong’s solos: Lawrence Gushee, ‘The improvisation of Louis Armstrong’, in Bruno Nettl with Melinda Russell (eds), In the Course of Performance: Studies in the World of Musical Improvisation (Chicago: University of Chicago Press, 1998), 291–334.

[10] Schoenberg on performers: Dika Newlin, Schoenberg Remembered: Diaries and Recollections (1938–76) (New York: Pendragon Press, 1980), 164.

[11] Philip, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900–1950 (Cambridge: Cambridge University Press, 1992), 220.

[12] Core articles on early music: Leech-Wilkinson, ‘What we are doing with early music is genuinely authentic to such a small degree that the word loses most of its intended meaning’, Early Music 12/1 (1984), 13–16; Taruskin, ‘The pastness of the present and the presence of the past’, in Text and Act: Essays on Music and Performance (New York: Oxford University Press, 1995), 90–154 (originally published 1988).

[13] Austin, How to Do Things with Words: The William James Lectures delivered at Harvard University in 1955 (Oxford: Clarendon Press, 1962).

[14] Hodge, ‘Aesthetic decomposition: Music, identity, and time’, in Michael Krausz (ed.), The Interpretation of Music: Philosophical Essays (Oxford: Clarendon Press, 1993), 247–58 (includes discussion of Wittgenstein).

[15] Solie, ‘Whose life? The gendered self in Schumann’s Frauenliebe songs’, in Stephen Paul Scher (ed.), Music and Text: Critical Inquiries (Cambridge: Cambridge University Press, 1992), 219–40.

[16] Potter, Vocal Authority: Singing Style and Ideology (Cambridge: Cambridge University Press, 1998), 182.

[17] Swedish choir member: Alf Gabrielsson, Strong Experiences with Music: Music is Much More than Just Music (Oxford: Oxford University Press, 2011), 251.

[18] Meintjes, ‘The politics of the recording studio: A case study from South Africa’, in Nicholas Cook et al. (eds), The Cambridge Companion to Recorded Music (Cambridge: Cambridge University Press, 2009), 84–97 [85].

[19] Management studies approach to music: Yaakov Atik, ‘The conductor and the orchestra: Interactive aspects of the leadership process’, Leadership and Organization Development Journal 15/1 (1994), 22–8.

第二章　用音乐思考

[20] Rumi quoted in Hasan Shah, The Dancing Girl (New York: New Directions, 1993), 93. Costello quoted: Timothy White, ‘A man out of time beats the clock’, Musician 60 (October 1983), 52. Seeger, Studies in Musicology 1935–75 (Berkeley: University of California Press, 1977), 45.

[21] Kingsbury, Music, Talent, and Performance: A Conservatory Cultural System (Philadelphia: Temple University Press, 1988), 181.

[22] Talk and wine: Adrienne Lehrer, Wine and Conversation (New York:Oxford University Press, 2009).

[23] Ellena, Perfume: The Alchemy of Scent (New York: Arcade Publishing, 2011), 38.

[24] Scruton, The Aesthetics of Architecture (London: Methuen, 1979), 51.

[25] Borges, ‘Of exactitude in science’, in A Universal History of Infamy (London: Allen Lane, 1973), 141.

[26] Figure 6: thanks to Susan Rankin for helping me over this, as well as allowing me to reproduce her transcription.

[27] Sudnow, Talk’s Body: A Meditation between Two Keyboards (New York: Knopf, 1979), 6–7.

[28] Clark, Supersizing the Mind: Embodiment, Action, and Cognitive Extension (New York: Oxford University Press, 2008), 2.

[29] Notes in South Indian singing: Robert Gjerdingen, ‘Shape and motion in the microstructure of song’, Music Perception 6 (1988), 35–64.

[30] Bamberger, ‘Turning music theory on its ear: Do we hear what we see? Do we see what we say?’, International Journal of Computers for Mathematical Learning 1 (1996), 33–55 [40].

[31] Harrison quoted from Eric Clarke et al., ‘Interpretation and performance in Bryn Harrison’s être-temps’, Musicae Scientiae 19 (2005), 31–74 [43].

[32] Musicians’ exaggerated claims: Marie Agnew, ‘A comparison of the auditory images of musicians, psychologists and children’, Psychological Monographs 31/1 (1922), 268–78.

[33] Gorton and ?stersj?: Eric Clarke et al., ‘Fluid practices, solid roles? The evolution of Forlorn Hope’, in Clarke and Mark Doffman (eds), Distributed Creativity: Collaboration and Improvisation in Contemporary Music (New York: Oxford University Press, 2018), 116–35.

[34] Lang’s ridiculous rules: Anne McCutchan, The Muse that Sings: Composers Speak about the Creative Process (New York: Oxford University Press, 1999), 222. Reynolds, Form and Method: Composing Music (New York: Routledge, 2002), 41. Ferneyhough: Ross Feller, ‘E-sketches: Brian Ferneyhough’s use of computer-assisted compositional tools’, in Patricia Hall and Friedemann Sallis (eds), A Handbook to Twentieth-Century Musical Sketches (Cambridge: Cambridge University Press, 2004), 176–88.

[35] Performing edition of Beethoven’s piano concerto movement on Spotify (search on ‘Hess 15’); see also Nicholas Cook, ‘Beethoven’s uninished piano concerto: A case of double vision?’, Journal of the American Musicological Society, 42 (1989), 38–74. The performing edition was prepared in collaboration with Kelina Kwan.

[36] Feynman and Wiener: James Gleick, Genius: Richard Feynman and Modern Physics (London: Abacus, 1994), 409.

[37] Beethoven’s advice on composing: letter 1203 in Emily Anderson (ed.), The Letters of Beethoven, 3 vols (London: Macmillan, 1961). Sketching in the woods: August von Kl?ber’s account in [Alexander Wheelock] Thayer’s Life of Beethoven (Princeton: Princeton University Press, 1967), 703.

[38] Eno, ‘The studio as compositional tool’, in Christoph Cox and Daniel Warner (eds), Audio Culture: Readings in Modern Music (New York: Continuum, 2004), 127–30.

[39] Merleau-Ponty, Signs (Evanston, IL: Northwestern University Press, 1964), 45.

第三章　在场的“过去”

[40] Allanbrook, Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni (Chicago: University of Chicago Press, 1983), 6.

[41] Haydn’s quartet: description by Giuseppe Carpani in Edward Klorman, Mozart’s Music of Friends: Social Interplay in the Chamber Works (Cambridge: Cambridge University Press, 2016), 41.

[42] Boellstorff, Coming of Age in Second Life (Princeton: Princeton University Press, 2008), 201.

[43] Lessing (writing about symphonies accompanying spoken drama)quoted in Wye Jamison Allanbrook, The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music, ed. Mary Ann Smart and Richard Taruskin (Berkeley: University of California Press, 2014), 24.

[44] Critical notices of Beethoven’s Ninth Symphony: details in Nicholas Cook, Beethoven: Symphony No. 9 (Cambridge: Cambridge University Press, 1993), 23, 27 (Kanne), 70–1 (Fr?hlich), 37–8.

[45] New practices of listening: James Johnson, Listening in Paris: A Cultural History (Berkeley: University of California Press, 1996).

[46] Wagner and Rolland: Cook, Beethoven: Symphony No. 9, 73 (‘Joy through suffering’ at 96).

[47] Gjerdingen, Music in the Galant Style (New York: Oxford University Press, 2007), 7. Mark Evan Bonds investigates this phenomenon in The Beethoven Syndrome: Hearing Music as Autobiography (New York: Oxford University Press, 2020).

[48] Solomon, Beethoven (London: Macmillan, 1997), 222–3.

[49] ‘Judas’ and the fan quoted: Christopher Paul Lee, Like the Night (revisited): Bob Dylan and the Road to the Manchester Free Trade Hall (London: Helter Skelter Publishing, 2004), 161. There is conflicting evidence about the heckler’s identity and motivation.

[50] Clara Schumann quoted: Nancy Reich, Clara Schumann: The Artist and Woman (Ithaca, NY: Cornell University Press, 1985), 229.

[51] Exposure of Schl?sser and Rochlitz: Solomon, ‘On Beethoven’s creative process: A two-part invention’, Music & Letters 61 (1980), 272–83 [275, 274]. Reger: Giselher Schubert and Friedmann Sallis, ‘Sketches and sketching’, in Hall and Sallis, A Handbook to Twentieth-Century Musical Sketches, 5–16 [7].

[52] Bilson, ‘Execution and expression in the Sonata in E lat, K 382’, Early Music 20 (1992), 237–43.

[53] Pitts, ‘Reflection’, in Daniel Leech-Wilkinson and Helen Prior (eds), Music and Shape (New York: Oxford University Press, 2017), 386–7 [386].

[54] Abbate, ‘Music—drastic or gnostic?’, Critical Inquiry 30 (2004),505–36 [512]; Leech-Wilkinson, ‘Cortot’s Berceuse’, Music Analysis 34 (2015), 335–63 [345]. Leech-Wilkinson on the classical performance establishment: ‘Classical music as enforced utopia’, Arts and Humanities in Higher Education 15 (2016), 325–36.

[55] Kramer on pale-faced audiences, Classical Music and Postmodern Knowledge (Berkeley: University of California Press, 1995), 3–4. Alex Ross, ‘Why so serious?’, New Yorker, 8 September 2008. Kramer on summer nights, Why Classical Music Still Matters (Berkeley: University of California Press, 2007), 2.

[56] Beyoncé and lip-synching: ‘“Any Questions?” Beyonce admits to lipsyncing but silences her critics by doing this ...’. Hall of Fame exhibit: Ryan Reed, ‘Beyoncé fashion exhibit coming to Rock and Roll Hall of Fame’, Rolling Stone, 18 July 2014.

[57] Celebrity: Jo Littler, ‘Adrift or ashore? Desert Island Discs and celebrity culture’, in Julie Brown et al. (eds), Defining the Discographic Self: Desert Island Discs in Context (London: British Academy, 2017), 93–106 [94].

[58] Beyoncé explained her aim for Lemonade in her 2017 Grammy Award acceptance speech. Beyoncé’s costumes: Amy MacKeldan, ‘Beyoncé’s Coachella performance featured Destiny’s Child, Jay Z, Solange, and several epic costume changes’, Harper’s Bazaar, 15 April 2018.

[59] Records reproducing works: Nick Morgan, ‘“A new pleasure”: Listening to National Gramophonic Society records, 1924–1931’, Musicae Scientiae 14 (2010), 139–64 [151].

[60] Culshaw’s innovative production: David Patmore and Eric Clarke, ‘Making and hearing virtual worlds: John Culshaw and the art of record production’, Musicae Scientiae 11 (2007), 269–93 (to hear his recordings on Spotify search for ‘Solti Ring’). Gould’s innovative production (e.g. of Jean Sibelius’s Kylliki): Kevin Bazzana, Glenn Gould: The Performer in the Work (Oxford: Oxford University Press, 1997).

[61] G-Funk and in-car listening: Justin Williams, ‘“Cars with the boom”:Music, automobility, and hip-hop “sub” cultures’, in Sumanth Gopinath and Jason Stanyek (eds), The Oxford Handbook of Mobile Music Studies (New York: Oxford University Press, 2014), vol. 2, 109–45 [126].

第四章　音乐2.0

[62] Rousseau, Essay on the Origin of Languages (1781), available in multiple translations.

[63] Savage, Bytes and Backbeats: Repurposing Music in the Digital Age (Ann Arbor: University of Michigan Press, 2011), 53.

[64] Krims, Music and Urban Geography (New York: Routledge, 2007), 144, 136, 146, 149; Bach recording is Organ Concerto Wq. 34 with Christine Schornsheim and the Akademie für Alte Musik (search ‘Bach Schornsheim Wq. 34’), Anonymous 4 ones are American Angels and The Origin of Fire.

[65] Affective recommendation based on selfies: Sumanth Gopinath and Jason Stanyek, ‘Techniques of the musical selfie’, in Nicholas Cook et al. (eds), The Cambridge Companion to Music in Digital Culture (Cambridge: Cambridge University Press, 2019), 89–118 [96].

[66] Geertz, Local Knowledge: Essays in Interpretive Anthropology (New York: Basic Books, 1983), 59.

[67] Fan’s comments from Rafal Zaborowski, ‘Hatsune Miku and Japanese virtual idols’, in Sheila Whiteley and Shara Rambarran (eds), The Oxford Handbook of Music and Virtuality (New York: Oxford University Press, 2016), 111–28 [123].

[68] Finnegan, The Hidden Musicians: Music-Making in an English Town, 2nd edn (Middletown, CT: Wesleyan University Press, 2007).

[69] Cook, ‘Video cultures: “Bohemian Rhapsody”, Wayne’s World, and beyond’, in Joshua Walden (ed.), Representation in Western Music (Cambridge: Cambridge University Press, 2013), 79–99.

[70] WELL: Howard Rheingold, The Virtual Community: Homesteading on the Electronic Frontier (Reading, MA: Addison-Wesley, 1993).

[71] Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006); Jenkins’s grandmother: Jenkins et al., Participatory Culture in a Networked Era (Cambridge: Polity Press, 2016), 7–8.

[72] Turino, Music as Social Life: The Politics of Participation (Chicago: University of Chicago Press, 2008).

[73] Shifman, Memes in Digital Culture (Cambridge, MA: MIT Press, 2014).

[74] Richardson, An Eye for Music: Popular Music and the Audiovisual Surreal (New York: Oxford University Press, 2011), 171.

[75] Jenkins et al., Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University, 2013).

[76] Rolland, Beethoven (London: Kegan Paul, 1919), 47.

[77] Figures for Napster users from Michael Gowan, ‘Requiem for Napster’, PC World, 18 May 2002; for music industry litigation from Mark Katz, Capturing Sound: How Technology has Changed Music (Berkeley: University of California Press, 2004), 176 and ‘Minnesota woman ordered to pay $222,000 in music piracy case’, Rolling Stone, 12 September 2012. Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy (London: Bloomsbury, 2008), 114; Jenkins quoted from Convergence Culture, 163–4.

[78] Bandcamp customers paying over the odds: Selling FAQ ‘What pricing performs best?’.

[79] Spotify’s pledge (from its 2015 media kit): Eric Drott, ‘Music as a technology of surveillance’, Journal of the Society for American Music 12/3 (2018), 233–67 [258]. Rheingold quoted, The Virtual Community, 297.

第五章　全球化世界中的音乐

[80] Father Gnecchi: Eta Harich-Schneider, A History of Japanese Music (London: Oxford University Press, 1973), 457. Eighteenth-century Calcutta: Raymond Head, ‘Corelli in Calcutta: Colonial music-making in India during the 17th and 18th centuries’, Early Music 13/4 (1985), 548–53; Ian Woodfield, Music of the Raj: A Social and Economic History of Music in Late Eighteenth-Century Anglo-Indian Society (Oxford: Oxford University Press, 2000).

[81] Mozart and Haydn: Karl Geiringer, Joseph Haydn: A Creative Life in Music, 3rd edn (Berkeley: University of California Press, 1982), 98.

[82] Rio newspaper article: L’écho, 3 October 1827, quoted in Ben Walton, ‘Listening through the operatic voice in 1820s Rio de Janeiro’, in Peter McMurray and Priyasha Mukhopadhyay (eds), Acoustics of Empire (New York: Oxford University Press, forthcoming); thanks to Ben Walton for permission to use his translation. Bowdich quoted (discussed by James Davies in a chapter from the same book) from Thomas Bowditch, Mission from Cape Coast Castle to Ashantee (London: John Murray 1819), 451. Bhabha quoted from Jonathan Rutherford, ‘The third space: Interview with Homi Bhabha’, in Jonathan Rutherford (ed.), Identity: Community, Culture, Difference (London: Lawrence & Wishart, 1998), 207–21 [208].

[83] Powell: Rolf Charlston, ‘A rhapsodic Heart of Darkness: John Powell’s Rhapsodie Nègre’, The Conradian 26/2 (2001), 79–90 and Lester Feder, ‘Unequal temperament: The somatic acoustics of racial difference in the symphonic music of John Powell’, Black Music Research Journal 28/1 (2008), 17–56.

[84] Tike Taane: Wilson, ‘Tiki Taane’s　With Strings Attached: Alive and Orchestrated and postcolonial identity politics in New Zealand’, in Tina Ramnarine (ed.), Global Orchestras (New York: Oxford University Press, 2018), 245–60 [248].

[85] Erhu performance: I am drawing on Jonathan Stock, Musical Creativity in Twentieth-Century China: Abing, his Music, and its Changing Meanings (Rochester, NY: Rochester University Press, 1996).

[86] Takemitsu, ‘Contemporary music in Japan’, Perspectives of New Music 27/2 (1989), 198–204 [199].

[87] Listing of metal bands by country: Metal Archives; downloads, Kevin Cornell, ‘Tunecore artists hit cash record: $1.5 billion in revenue’, TuneCore News, 29 April 2019.

[88] Agawu, Representing African Music: Postcolonial Notes, Queries, Positions (New York: Routledge, 2003), 6.

[89] Weltmusik: Bj?rn Heile, ‘Weltmusik and the globalization of new music’, in Heile (ed.), The Modernist Legacy: Essays on New Music (Farnham: Ashgate, 2009), 101–21; Schoenberg on the supremacy of German music: Hans Heinz Stuckenschmidt, Arnold Schoenberg: His Life, World and Work (London: Calder, 1977), 277.

[90] Chou, ‘East and West, old and new’, Asian Music 1/1 (1968–9), 19–22, and ‘Asian esthetics and world music’, in Harrison Rykert (ed.), New Music in the Orient (Buren: Frits Knupf, 1991), 177–87 [177].

[91] Scott quoted: ‘Cosmopolitan musicology’, in Elaine Kelley et al. (eds), Confronting the National in the Musical Past (London: Routledge, 2018), 17–30 [18–19].

[92] Daly quoted in Laurent Aubert, The Music of the Other: New Challenges for Ethnomusicology in a Global Age (Aldershot: Ashgate, 2007), 55.

[93] Tolkien, The Lord of the Rings (London: HarperCollins, 1994), 564.

[94] Horkheimer, Critical Theory: Selected Essays (New York: Continuum, 1982), 244.

[95] Singing changing people’s lives, ish and chip shops: Caroline Bithell, A Different Voice, a Different Song (New York: Oxford University Press, 2014), 14, 20.

[96] Leading article, ‘Barenboim’s harmonious message goes beyond classical music’, The Guardian, 30 April 2006, critiqued by Rachel Beckles Willson, ‘The parallax worlds of the West-Eastern Divan Orchestra’, Journal of the Royal Musical Association 134/2 (2009), 319–47.

[97] Davies, Musical Meaning and Expression (Ithaca, NY: Cornell University Press, 1994), 326.