Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
Im Buch
Ergebnisse 1-3 von 21
Seite 72
... began to include these new forms along with the old fuguing tunes and , by the mid - 19th century , they could contain such diverse offerings as ' Hail Columba ! ' , ' Auld Lang Syne ' and ' Wayfaring Stranger ' . But as the ancient ...
... began to include these new forms along with the old fuguing tunes and , by the mid - 19th century , they could contain such diverse offerings as ' Hail Columba ! ' , ' Auld Lang Syne ' and ' Wayfaring Stranger ' . But as the ancient ...
Seite 102
... began anywhere , it surely began with Beethoven . Beethoven raised the audience's traditional expectations , then threw them to the winds , making his own personal logic out of what his conditioned audience would have considered ...
... began anywhere , it surely began with Beethoven . Beethoven raised the audience's traditional expectations , then threw them to the winds , making his own personal logic out of what his conditioned audience would have considered ...
Seite 139
... began to notice that things had not only changed but were in a continuing state of vortex , and as a ' New Music ' began to hit them almost every day , the new styles became known as ' experimental ' . Then towards the end of the 1960s ...
... began to notice that things had not only changed but were in a continuing state of vortex , and as a ' New Music ' began to hit them almost every day , the new styles became known as ' experimental ' . Then towards the end of the 1960s ...
Inhalt
2100351 | 7 |
The Path to Elitism | 21 |
The Path to Chauvinism | 32 |
Urheberrecht | |
8 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
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