Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
Im Buch
Ergebnisse 1-3 von 30
Seite 78
... elements against the white man's inclinations to exploit them , the white rock musicians used only those elements that were suitable for grafting into a new Western language , answering to a commercially - controlled popular taste . If ...
... elements against the white man's inclinations to exploit them , the white rock musicians used only those elements that were suitable for grafting into a new Western language , answering to a commercially - controlled popular taste . If ...
Seite 119
... elements that would be left to chance : ' anything goes ' only ' when nothing is the purpose ' . However , anything ' must be something rather than nothing . The potential conflict between control and the freedom to choose is as endemic ...
... elements that would be left to chance : ' anything goes ' only ' when nothing is the purpose ' . However , anything ' must be something rather than nothing . The potential conflict between control and the freedom to choose is as endemic ...
Seite 137
... elements of lyricism and counterpoint . His six string quartets are perhaps his most enduring legacy . The first ... element - represented not so much a reaction to the ideals of the post - Renaissance tradition as a devolution from ...
... elements of lyricism and counterpoint . His six string quartets are perhaps his most enduring legacy . The first ... element - represented not so much a reaction to the ideals of the post - Renaissance tradition as a devolution from ...
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 |
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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