Roll Over Rock: A Study of Music in Contemporary CultureStainer & Bell, 1981 - 175 pages |
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Page 17
... experience and every new experience should be a revelation . To pre - analyse an experience is to make assumptions about how an individual should respond . To attempt to condition responses is to determine other people's tastes : to ...
... experience and every new experience should be a revelation . To pre - analyse an experience is to make assumptions about how an individual should respond . To attempt to condition responses is to determine other people's tastes : to ...
Page 38
... experience . Emotion came to replace reason as the response to direct experience and emotional response became sufficiently fashionable for the French to provide it with a name : sensibilité . The underprivileged were obvious candidates ...
... experience . Emotion came to replace reason as the response to direct experience and emotional response became sufficiently fashionable for the French to provide it with a name : sensibilité . The underprivileged were obvious candidates ...
Page 120
... experience , whether conscious or unconscious , is more fundamental to an oratorio or opera than to a string quartet ' . 48 It is , of course , the technological development of literate societies that has created the need for a Jung to ...
... experience , whether conscious or unconscious , is more fundamental to an oratorio or opera than to a string quartet ' . 48 It is , of course , the technological development of literate societies that has created the need for a Jung to ...
Contents
2100351 | 7 |
The Path to Elitism | 21 |
The Path to Chauvinism | 32 |
Copyright | |
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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