Rock music:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2011
|
| Schriftenreihe: | The library of essays on popular music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXIX, 474 S. Notenbeisp. |
Internformat
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Datensatz im Suchindex
| _version_ | 1804148629951217664 |
|---|---|
| adam_text | Contents
Acknowledgements
vii
Series Preface
ix
Introduction: The Rock (Academic) Circus
xi
PART I HISTORIES, AESTHETICS AND IDEOLOGIES
1
Bruce Baugh
(1993),
Prolegomena to Any Aesthetics of Rock Music , Journal
of Aesthetics and Art Criticism,
51,
pp.
23-29. 3
2
Mark Mazullo
(1997),
Fans and Critics: Greil Marcus s Mystery Train as
Rock n Roll History , Musical Quarterly,
81,
pp.
145-69. 11
3
Ian Inglis
(1996),
Synergies and Reciprocities: The Dynamics of Musical and
Professional Interaction between the Beatles and Bob Dylan , Popular Music
and Society,
20,
pp.
53-79. 37
4
John Covach
(2006),
The Hippie Aesthetic: Cultural Positioning and Musical
Ambition in Early Progressive Rock , Proceedings of the International
Conference Composition and Experimentation in British Rock
1966-1976 ,
Philomusica On-line, Special Issue, [pp.
65-75]. 65
5
Nadya Zimmerman
(2006),
Consuming Nature: The Grateful Dead s
Performance of an
Anticommercial
Counterculture , American Music,
24,
pp.
194-216. 77
6
Kevin Holm-Hudson
(2001),
The Future is Now
...
and Then: Sonic
Historiography in Post-19608 Rock , Genre,
34,
pp.
243-64. 101
7
David Hesmondhalgh
(1999),
Indie: The Institutional Politics and Aesthetics
of a Popular Music Genre
,
Cultural Studies,
13,
pp.
34-61. 123
8
Mary Ann Clawson
(1999),
When Women Play the Bass: Instrument
Specialization and Gender Interpretation in Alternative Rock Music ,
Gender
&
Society,
13,
pp.
193-210. 151
9
Deena
Weinstein (2004),
All Singers are Dicks , Popular Music and Society,
27,
pp.
323-34. 169
10 Fred Maus (2006),
Intimacy and Distance: On Stipe s Queerness , Journal of
Popular Music Studies,
18,
pp.
191-214. 181
PART II SOUNDS, STRUCTURES AND STYLES
11
David Temperley
(2007),
The Melodic-Harmonic Divorce in Rock
,
Popular
Music,
26,
pp.
323-42. 207
12
Nicole Biamonte
(2010),
Triadic Modal and Pentatonic Patterns in Rock Music ,
Music Theory Spectrum,
32,
pp.
95-110. 227
vi Rock
Music
13
Christopher Doll
(2009),
Transformation in Rock Harmony: An Explanatory
Strategy , Gamut,
2,
pp.
1-44 [243-74]. 243
14
Allan F. Moore
(2005),
The Persona-Environment Relation in Recorded Song ,
Music Theory Online,
11,
[pp.
275-94]. 275
15
Mark Spicer
(2004),
(Accumulative Form in Pop-Rock Music , twentieth-century
music,
1,
pp.
29-64. 295
16
Steve Waksman
(1996),
Every Inch of My Love: Led Zeppelin and the Problem
of Cock Rock , Journal of Popular Music Studies,
8,
pp.
5-25 [331-47]. 331
17
John Brackett
(2008),
Examining Rhythmic and Metric Practices in Led
Zeppelin s Musical Style , Popular Music,
27,
pp.
53-76. 349
18
Albin
J.
Zak
III
(2004),
Bob Dylan and
Jimi Hendrix:
Juxtaposition and
Transformation All Along the Watchtower , Journal of the American
Musicological Society,
57,
pp.
599-644. 373
19
Walter Everett
(2000),
The Learned vs. the Vernacular in the Songs of Billy
Joel , Contemporary Music Review,
18,
pp.
105-29. 419
20
Jonathan Pieslak
(2008),
Sound, Text and Identity in Korn s Hey Daddy ,
Popular Music,
27,
pp.
35-52. 445
Name Index
463
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| series2 | The library of essays on popular music |
| spelling | Rock music ed. by Mark Spicer Farnham [u.a.] Ashgate 2011 XXIX, 474 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier The library of essays on popular music Rockmusik (DE-588)4115774-6 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Rockmusik (DE-588)4115774-6 s DE-604 Spicer, Mark Stuart 1965- (DE-588)143600931 edt Digitalisierung BSB Muenchen 3 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024589838&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title_full | Rock music ed. by Mark Spicer |
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