Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
Im Buch
Ergebnisse 1-3 von 53
Seite 14
... become inured to the idea , not only that the relationship between people , objects , thoughts —and sounds - fundamentally matters , but that these relationships must be controlled by formal calculation . The application of such ...
... become inured to the idea , not only that the relationship between people , objects , thoughts —and sounds - fundamentally matters , but that these relationships must be controlled by formal calculation . The application of such ...
Seite 129
... become possible to write longer pieces . We want to say , in quite a new way , what has been said before . But now I can invent more freely ; everything has a deeper unity . Only now is it possible to compose in free fantasy , adhering ...
... become possible to write longer pieces . We want to say , in quite a new way , what has been said before . But now I can invent more freely ; everything has a deeper unity . Only now is it possible to compose in free fantasy , adhering ...
Seite 153
... becoming inessential , and that composition will become just one more task for the programmer , we must admit that the computer is simply doing more thoroughly and quickly what man can do himself . In one sense it is like the dishwasher ...
... becoming inessential , and that composition will become just one more task for the programmer , we must admit that the computer is simply doing more thoroughly and quickly what man can do himself . In one sense it is like the dishwasher ...
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