音乐撷取：激发音乐学的实践
Music-ripping: des pratiques qui provoquent la musicologie
摘要：
在音乐和音乐学领域中，人们注意到计算机的通常地位之外，出现了人类-计算机系统，它们通过分离而存在。虽然这些单一的系统在音乐的扩展的通常领域中起作用，但它们并没有对已知的音乐学范畴进行任何系统的参考。相反，他们做了可能的实验，开放使用的地方听，组成和音乐传输得到合并在一个手势有时命名为？翻唱音乐？我们将展示音乐剽窃的做法是如何激起传统音乐学的，而传统音乐学的规范范畴恰好在这里无法解释。为了达到这一目的，我们需要：-明确一个最小的类别集，足以作为计算机辅助音乐的通常模型的基础;-对人类计算机系统做同样的事情（反音乐学？）这使我们感到不安; -检查第二组还原为第一组的可能性条件; -总结音乐撕裂的本质。
英文摘要：
Out of the scope of the usual positions of computing in the field of music and musicology, one notices the emergence of human-computer systems that do exist by breaking off. Though these singular systems take effect in the usual fields of expansion of music, they do not make any systematic reference to known musicological categories. On the contrary, they make possible experiments that open uses where listening, composition and musical transmission get merged in a gesture sometimes named as ?music-ripping?. We will show in which way the music-ripping practices provoke traditional musicology, whose canonical categories happen to be ineffectual to explain here. To achieve that purpose, we shall need: - to make explicit a minimal set of categories that is sufficient to underlie the usual models of computer assisted music;- to do the same for human-computer systems (anti-musicological?) that disturb us; - to examine the possibility conditions of reduction of the second set to the first; - to conclude on the nature of music-ripping.
机构、总结、中文摘要均由AI分析而来，可能存在错误，请以论文正文为准。
