Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 Seiten |
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Seite 34
... opera was transferred from nobles to people in 1637 , with the opening of the Teatro di San Cassino in Venice . By the end of the century there were no fewer than eleven opera theatres in Venice itself and the idea had caught on like ...
... opera was transferred from nobles to people in 1637 , with the opening of the Teatro di San Cassino in Venice . By the end of the century there were no fewer than eleven opera theatres in Venice itself and the idea had caught on like ...
Seite 35
... opera house an emporium for social ostentation , the same was no less true for musical ostentation . The fashion for composing operas on classical mythology persisted at least until the 1750s , by which time there was presumably little ...
... opera house an emporium for social ostentation , the same was no less true for musical ostentation . The fashion for composing operas on classical mythology persisted at least until the 1750s , by which time there was presumably little ...
Seite 39
... opera.8 ( 1753 ) Although Rousseau considered that the present state of the arts was of little use in any form , he had just achieved some notoriety with his own opera Le Devin du Village , and wrote : The Italians pretend that our ...
... opera.8 ( 1753 ) Although Rousseau considered that the present state of the arts was of little use in any form , he had just achieved some notoriety with his own opera Le Devin du Village , and wrote : The Italians pretend that our ...
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