Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
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Seite 26
... concerned , as later composers were , to transcend the restrictions of contemporary etiquette ; nor were they concerned to create an individual expression of an ideal . Their work was part of a collective enterprise and their identities ...
... concerned , as later composers were , to transcend the restrictions of contemporary etiquette ; nor were they concerned to create an individual expression of an ideal . Their work was part of a collective enterprise and their identities ...
Seite 112
... concerned to make people more aware of their real environment ; and as music had traditionally created an artificial environment , art music had now to be created largely out of the sounds of the environment in order to make his point ...
... concerned to make people more aware of their real environment ; and as music had traditionally created an artificial environment , art music had now to be created largely out of the sounds of the environment in order to make his point ...
Seite 147
... concerned only with the effect of the music . Initially , Xenakis aimed to reject linear geometry but nevertheless achieved it by means of a highly sophisticated technique based on advanced mathematics . His works are arranged ' on the ...
... concerned only with the effect of the music . Initially , Xenakis aimed to reject linear geometry but nevertheless achieved it by means of a highly sophisticated technique based on advanced mathematics . His works are arranged ' on the ...
Inhalt
2100351 | 7 |
The Path to Elitism | 21 |
2 | 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