Eurydice; or Orphée aux enfers. An opera bouffé ... PDF Download
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Author: W. F. Vandervell
Publisher:
ISBN:
Category :
Languages : en
Pages : 34
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Book Description
Author: W. F. Vandervell
Publisher:
ISBN:
Category :
Languages : en
Pages : 34
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Book Description
Author: W. F. VANDERVELL
Publisher:
ISBN:
Category :
Languages : en
Pages : 36
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Book Description
Author: W. F. Vandervell
Publisher:
ISBN:
Category :
Languages : en
Pages : 34
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Book Description
Author: Jacques Offenbach
Publisher:
ISBN:
Category :
Languages : en
Pages : 40
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Book Description
Author: Jacques Offenbach
Publisher:
ISBN:
Category :
Languages : en
Pages : 33
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Book Description
Author: Henry Sambrooke Leigh
Publisher:
ISBN:
Category : Operas
Languages : en
Pages : 32
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Book Description
Author: Jacques Offenbach
Publisher:
ISBN:
Category : Operas
Languages : en
Pages : 32
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Book Description
Author: Bijou Opera House (New York, N.Y.)
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: Orpheus
Publisher:
ISBN:
Category :
Languages : en
Pages : 32
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Book Description
Author: Derek B. Scott
Publisher: Oxford University Press
ISBN: 0190294892
Category : Music
Languages : en
Pages : 320
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Book Description
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.
