Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
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Seite 66
... American music . He belonged to the breed of ' Yankee Tunesmiths ' who busily churned out four - part psalm tunes and ' Fuguing ' tunes ( canonic and imitative pieces that were grateful to sing and a substitute for real fugues ) . Self ...
... American music . He belonged to the breed of ' Yankee Tunesmiths ' who busily churned out four - part psalm tunes and ' Fuguing ' tunes ( canonic and imitative pieces that were grateful to sing and a substitute for real fugues ) . Self ...
Seite 67
... American music and American politics . When the war was over , people cheered their leader in song with ' God Save Great Washington ' ; in almost the same breadth they sang ' Adams and Liberty ' , then ' Lincoln and Liberty ' , and ( to ...
... American music and American politics . When the war was over , people cheered their leader in song with ' God Save Great Washington ' ; in almost the same breadth they sang ' Adams and Liberty ' , then ' Lincoln and Liberty ' , and ( to ...
Seite 133
... American music . Nothing could be more naïve than Copland's ' Lincoln Portrait ' . Yet his use of genuinely American folk tunes as , for example , in Billy the Kid - naïve as they are represent the tradition of Billings at its very best ...
... American music . Nothing could be more naïve than Copland's ' Lincoln Portrait ' . Yet his use of genuinely American folk tunes as , for example , in Billy the Kid - naïve as they are represent the tradition of Billings at its very best ...
Inhalt
2100351 | 7 |
The Path to Elitism | 21 |
The Path to Chauvinism | 32 |
Urheberrecht | |
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Roll Over Rock: A Study of Music in Contemporary Culture Peter Fletcher Keine Leseprobe verfügbar - 1981 |
Häufige Begriffe und Wortgruppen
19th century achieved appear art music artistic audience aware Bach ballads Baroque basic Beatles became become Beethoven black music Blues ceremony chord Church civilisation classical music composers concept contemporary music contrast created culture dance Debussy early effect electronic elements élite emotional entertainment essentially European expression folk music function genius harmony human improvisation individual influence instruments integral serialism jazz John Cage listener London magic Marshall McLuhan melody Messiaen middle classes Miles Davis Mozart musicians nature negro notion opera orchestra ornament parameters performed pitch popular music possible primitive Quentin Fiore record companies Renaissance Renaissance musical rhythm rhythmic ritual Rock Schoenberg's Scratch Music Scratch Orchestra Second Viennese School sense sensory sentiment sing singers social society songs sophisticated sound spirit Stockhausen Stravinsky structure style symphonic synthesis taste texture texture music theatre theatrical thing timbre tonal tribal tunes unity Varèse Wagner Webern western music Xenakis