Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
Im Buch
Ergebnisse 1-3 von 40
Seite 28
... Renaissance . Machaut's music looks terrifyingly abstruse to the eye ; but to the ear it presents a quality of dynamism that must have been as refreshing to its audience as was that of the Beatles to the audiences of the swinging 1960s ...
... Renaissance . Machaut's music looks terrifyingly abstruse to the eye ; but to the ear it presents a quality of dynamism that must have been as refreshing to its audience as was that of the Beatles to the audiences of the swinging 1960s ...
Seite 32
... Renaissance musical ornament was to provide a form of escape from these unpleasant realities of life . Like courtship of the time , music was an active rather than a passive pastime it was a social grace and also a social skill . And ...
... Renaissance musical ornament was to provide a form of escape from these unpleasant realities of life . Like courtship of the time , music was an active rather than a passive pastime it was a social grace and also a social skill . And ...
Seite 36
... Renaissance sense of proportion and symmetry , he was aware of his co - operative function within the whole . The ' broken ' consorts of the late Renaissance had opened the way for an undermining of that carefully controlled ...
... Renaissance sense of proportion and symmetry , he was aware of his co - operative function within the whole . The ' broken ' consorts of the late Renaissance had opened the way for an undermining of that carefully controlled ...
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 acceptance achieved American appear art music artistic association attempted audience aware basic became become Beethoven began Blues Books Cage called cause century ceremony Church classical collective communal composers concept contemporary continue contrast course created culture dance early effect electronic elements emotional essentially European exist experience expression fact folk function give groups harmony human individual influence integral Italy jazz largely least less listener live London means melody middle musicians nature never notes notion opera orchestra original particular performed pitch play political popular possible present primitive problem produce record remained Renaissance response result rhythm ritual Rock rule seems sense sentiment shows sing social society songs sound space structure style symphonic taste thing timbre tradition tunes universal Wagner Western York