{"title":"随意性、意识的刻板印象和想象力","authors":"V. Kudryavtsev","doi":"10.1080/10610405.2017.1423846","DOIUrl":null,"url":null,"abstract":"Musical composition demands the expression, through signs of actions, of melodic and rhythmic models that are derived from the “realm of sounds,” which is conceived as “disorder” – or, to put it better, as a “potential aggregation of all possible orders.” The world of music is unique in its own way: it is a world of sounds that are separated out from a mass of noises. —Paul Valéry [not cited in the original.–Ed.]","PeriodicalId":308330,"journal":{"name":"Journal of Russian & East European Psychology","volume":"45 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2017-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Arbitrariness, the Stereotypes of Consciousness, and Imagination\",\"authors\":\"V. Kudryavtsev\",\"doi\":\"10.1080/10610405.2017.1423846\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Musical composition demands the expression, through signs of actions, of melodic and rhythmic models that are derived from the “realm of sounds,” which is conceived as “disorder” – or, to put it better, as a “potential aggregation of all possible orders.” The world of music is unique in its own way: it is a world of sounds that are separated out from a mass of noises. —Paul Valéry [not cited in the original.–Ed.]\",\"PeriodicalId\":308330,\"journal\":{\"name\":\"Journal of Russian & East European Psychology\",\"volume\":\"45 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2017-09-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Russian & East European Psychology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/10610405.2017.1423846\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Russian & East European Psychology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10610405.2017.1423846","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Arbitrariness, the Stereotypes of Consciousness, and Imagination
Musical composition demands the expression, through signs of actions, of melodic and rhythmic models that are derived from the “realm of sounds,” which is conceived as “disorder” – or, to put it better, as a “potential aggregation of all possible orders.” The world of music is unique in its own way: it is a world of sounds that are separated out from a mass of noises. —Paul Valéry [not cited in the original.–Ed.]