Примечания

Глава первая

. Folk Song Style and Culture, by Alan Lomax, Transaction Publishers, 1978.

. Росс А. Послушайте. М.: Corpus Books, 2013 или: “Why So Serious?,” by Alex Ross, The New Yorker, September 8, 2008.

. Гарет Дэвис «Птичьи песни» (Gareth Huw Davies “Bird Songs”) в программе Дэвида Аттенборо «Жизнь птиц» (David Attenborough The Life of Birds, PBS. ).

. “The relation of geographical variation in song to habitat characteristics and body size in North American Tanagers,” by Eyal Shy, Behavioral Ecology and Sociobiology vol. 12, no. 1, p. 71–76.

. “How City Noise Is Reshaping Birdsong,” by David Biello, Scientific American, October 22, 2009.

. Survival of the Beautiful: Art, Science and Evolution, by David Rothenberg, Bloomsbury Press, 2011, p. 6.

. “Was Maya Pyramid Designed to Chirp like a Bird?,” by Bijal P. Trivedi, National Geographic, December 6, 2002.

. “Ancient Maya Temples Were Giant Loudspeakers?,” by Ker Than, National Geographic, December 16, 2010.

Глава вторая

. “Creativity and Psychopathology: A Study of 291 World-Famous Men,” by Felix Post, The British Journal of Psychiatry, vol. 165, 1994, p. 22–24.

Глава третья

. “The Heliocentric Pantheon: An Interview with Walter Murch,” by Geoff Manaugh, BLDG Blog, April 2007. .

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 13.

. Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, Faber & Faber, 2010, p. 14.

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 60.

. “The Menace of Mechanical Music,” by John Philip Sousa, Appleton’s Magazine, vol. 8, 1906, p. 278. .

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 17.

. Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, Faber & Faber, 2010, p. 60.

. Si sos brujo: A Tango Story, Caroline Neal, Cinematica, 2005. DVD.

. Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, Faber & Faber, 2010, p. 78.

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 74–75.

. “Wiring the World: Acoustical Engineers and the Empire of Sound in the Motion Picture Industry, 1927–1930,” by Emily Thompson, in Hearing Cultures: Essays on Sound, Listening and Modernity, Veit Erlmann, ed., Berg Publishers, 2004, p. 198.

. Ibid., p. 201.

. Ibid., p. 202.

. “The Prospects of Recording,” by Glenn Gould, in High Fidelity vol. 16, no. 4, April 1966, p. 46–63.

. Ibid.

. “Thanks for the Memorex,” by Hua Hsu, ArtForum, February 2011.

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 12.

Глава четвертая

. Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, Faber & Faber, 2010, p. 258–261.

. Ibid., p. 268.

. Ibid., p. 207–208.

. “Thinking About Sound, Proximity, and Distance in Western Experience: The Case of Odysseus’s Walkman,” by Michael Bull, in Hearing Cultures: Essays on Sound, Listening and Modernity, Veit Erlmann, ed., Berg Publishers, p. 174.

. Ibid., p. 176.

Глава пятая

. Jim Rutenberg, “Yes, the News Can Survive the Newspaper,” New York Times, September 4, 2016. .

. .

Глава шестая

. “The Prospects of Recording,” by Glenn Gould, in High Fidelity vol. 16, no. 4, April 1966. p. 46–63.

Глава седьмая

. “N. A.S.A: The Spirit of Apollo”, by Tom Breihan, Pitchfork, February 18, 2009. .

Глава восьмая

. “The Artistry Is Apparent, So Where’s the Audience?”, by Stephen Holden, New York Times, February 6, 2011.

. “Musical Survivor Hustles for a Second Chance,” by Ben Sisario, New York Times, February 8, 2011.

. “U2 Signs 12-Year Deal with Live Nation,” Billboard. .

. “Live Nation’s $120 Million Bet: Breaking Down Madonna Deal,” by Peter Kafka, Business Insider, October 10, 2007. .

. “Bandcamp Powers Online Sales, Aims to Fill Myspace ‘Vacuum’,” by John Tozzi, Bloomberg, November 1, 2011. .

. “Spotify Hits 6 Million Paid Users as Market for Music Streaming Heats Up,” by Jeff John Roberts, paidContent, March 12, 2013. .

. “Eminem Lawsuit May Raise Pay for Older Artists,” by Ben Sisario, New York Times, March 27, 2011. .

. “USC Annenberg Lab Ad Transparency Report, Fourth Edition,” May 8, 2013.

Глава девятая

. Toward a Poor Theater, by Jerzy Grotowski, Routledge, 2002, p. 255.

Глава десятая

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 61.

. What Good Are the Arts?, by John Carey, Faber & Faber, 2005, p. 34–36.

. “The Menace of Mechanical Music,” by John Philip Sousa, originally published in Appleton’s Magazine vol. 8, 1906.

. Capturing Sound: How Technology Has Changed Music, by Mark Katz, University of California Press, 2010, p. 70.

. “What’s Wrong with Classical Music?,” by Colin Eatock, 3 Quarks Daily, October 4, 2010. .

. Ibid.

. What Good Are the Arts?, by John Carey, Faber & Faber, 2005, p. 11.

. Ibid., p. 97.

. Ibid., p. 97–99.

. Ibid., p. 101.

. The Blockbuster attendance figures can be found here: .

. What Good Are the Arts?, by John Carey, Faber & Faber, 2005, p. 20–32.

. Ibid., p. 25.

. Ibid., p. 90.

. Ibid., p. 60.

. Ibid., p. 61.

. Criticisms on Art, by William Hazlitt, Nabu Press, 2011, p. 110.

. Patronizing the Arts, by Marjorie Garber, Princeton University Press, 2008, p. 52.

. Ibid., p. 54.

. “Design for Living,” by Paul Goldberger, The New Yorker, April 4, 2011.

. What Good Are the Arts?, by John Carey, Faber & Faber, 2005, p. 132–133.

. Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, Faber & Faber, 2010, p. 119.

. “A Metropolitan Opera High Note, as Donations Hit $182 Million,” by Daniel J. Wakin, New York Times, October 10, 2011. .

. “L. A. Opera’s ‘Ring’ Cycle May Be in the Red,” by Mike Boehm, Los Angeles Times, May 29, 2010. .

. “A Metropolitan Opera High Note, as Donations Hit $182 Million,” by Daniel J. Wakin, New York Times, October 10, 2011. .

. “Reader Response: Orchestras Are Overextended,” by Daniel J. Wakin, New York Times, April 22, 2011. .

. “Los galeones en el siglo XXI. El Roxy, un ejemplo de art deco tapatio,” in Replicante vol. 3, no. 12, Summer 2007.

. What Good Are the Arts? by John Carey, Faber & Faber, 2005, p. 40.

. “Beyond Baby Mozart: Students Who Rock,” by David Bornstein, New York Times, September 8, 2011. .

. “Rock Is Not the Enemy,” by David Bornstein, New York Times, September 13, 2011. .

. “Strings Attached: What the Venezuelans Are Doing for British Kids,” by Ed Vulliamy, The Observer, October 3, 2010.

. Ibid.

. “Let’s Get Serious About Cultivating Creativity,” by Steven J. Tepper & Georde D. Kuh, The Chronicle of Higher Education, September 4, 2011. .

. Musicophilia: Tales of Music and the Brain, by Oliver Sacks, Knopf, 2007, p. 102.

. What Good Are the Arts?, by John Carey, Faber & Faber, 2005.

. “Transform Education? Yes, We Must,” by Sir Ken Robinson, The Huffington Post, January 11, 2009. .

. The Thinking Ear: Complete Writing on Music Education, by R. Murray Schafer, Arcana Editions, 1986, p. 246–248.

Глава одиннадцатая

. Selected Essays and Readings: On the Origin of Music, by Robert Fink, Greenwich Publishing, 2003.

. The Secret Teachings of All Ages: An Encyclopedia Outline of Masonic, Hermetic, Qabbalistic and Rosicrucian Symbolical Philosophy, by Manly P. Hall, Jeremy P. Tarcher/Penguin, 2003, p. 252.

. The Harmony of the World, by Johannes Kepler, American Philosophical Society, 1997, p. 440.

. “The Heliocentric Pantheon: An Interview with Walter Murch,” by Geoff Manaugh, BLDG Blog, April 2007. .

. The Music of Pythagoras: How an Ancient Brotherhood Cracked the Code of the Universe and Lit the Path from Antiquity to Outer Space, by Kitty Ferguson, Walker Publishing Company, 2008, p. 239.

. “Ether Ore: Mining Vibrations in American Modernist Music,” by Douglas Kahn, in Hearing Cultures: Essays on Sound, Listening and Modernity, Veit Erlmann, ed., Berg Publishers, 2004, p.127.

. “In Search of Music’s Biological Roots,” by Ker Than, Duke Magazine vol. 94, no. 3, May–June 2008. .

. “A Sonorous, Smiling City,” by Kerri MacDonald and Béatrice de Géa, New York Times, March 16, 2011.

. “Cage’s Place in the Reception of Satie,” by Matthew Shlomowitz, 1999. .

. “Experimental Music,” by John Cage, statement given as an address to the convention of the Music Teachers National Association in Chicago in 1957. .

. Outsider: John Rockwell on the Arts, 1967–2006, Limelight Editions, 2006, p. 210.

. “Experimental Music,” by John Cage, statement given as an address to the convention of the Music Teachers National Association in Chicago in 1957. .

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