平特五不中

础产蝉迟谤补肠迟:听The Golden Record on board of the Voyager spacecraft (1977) is on a journey through outer space, carrying a sampling of world music into the unknown. Conceived as a visiting card to other life in the universe, the Golden Record has been called a 鈥渕essage in a bottle鈥� and an 鈥渋nterstellar mixtape.鈥濃�擳he question I want to ask is simple: What would actually happen if extraterrestrials picked it up at the other end? Can we expect that extraterrestrials have ears? What does listening even mean in an interstellar context? In what could be termed a media archaeology of the future, we will examine the record as an interface in the communication of various expressive forms鈥攚ords, music, images鈥攚ith the aim of getting a better sense of how exactly the Golden Record might function in this unpredictable context.听
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Bio:听Alexander Rehding听is Fanny Peabody Professor of Music at Harvard University. His work is located at the intersection between music theory and cultural history. His publications include听Hugo Riemann and the Birth of Modern Musical Thought听(2003), Music and Monumentality听(2009) and听Beethoven鈥檚 Ninth Symphony听(2017). Rehding has also co-edited听Music Theory and Natural Order听(2001),听The Oxford Handbook of Neo-Riemannian Studies听(2011), and听Music in Time听(2016). Recent work has also taken Rehding toward media studies and transcultural work, in such articles as 鈥淚nstruments of Music Theory鈥� and the online exhibition听Sounding China. A former editor of听Acta musicologica,听Rehding is editor-in-chief of the听Oxford Music Handbook听series. Rehding鈥檚 awards include a Guggenheim Fellowship and the Dent Medal (2014). Current projects include the听Oxford Handbook of Timbre, the听Oxford Handbook of Critical Concepts in Music Theory, a volume on transcultural music theory, and a book on the Golden Record.