Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-200
... whole terminology exists for them such as break , blue chords , dirty notes . Their standardization , however , is somewhat different from that of the framework . It is not overt like the latter but hidden behind a veneer of individual ...
... whole terminology exists for them such as break , blue chords , dirty notes . Their standardization , however , is somewhat different from that of the framework . It is not overt like the latter but hidden behind a veneer of individual ...
Pagina 8-201
... whole . But no stress is ever placed upon the whole as a musical event , nor does the struc- ture of the whole ever depend upon the details . Serious music , for comparative purposes , may be thus charac- terized : Every detail derives ...
... whole . But no stress is ever placed upon the whole as a musical event , nor does the struc- ture of the whole ever depend upon the details . Serious music , for comparative purposes , may be thus charac- terized : Every detail derives ...
Pagina 8-202
... whole , or that if the whole still is perceivable in the dance types in serious music despite recurrence of the types , there is no reason why it should not be perceivable in modern popular music . The following consideration provides ...
... whole , or that if the whole still is perceivable in the dance types in serious music despite recurrence of the types , there is no reason why it should not be perceivable in modern popular music . The following consideration provides ...
Cuprins
Shakespeare and the Popular Dramatic Tradition by S L Bethell | 8-3 |
Pantomime by John Shand | 8-159 |
Music Halls by John Shand | 8-167 |
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Termeni și expresii frecvente
accept actor actual Adorno Antony and Cleopatra artists attention attitude audience ballad Britannia burlesque character Claudius comedy comic consciousness contemporary conventional conventionalism Cressida criticism culture dialogue Dover Wilson dual consciousness dumb-show Elizabethan England English example experience expressed Falstaff feeling film George Formby glamor Gorboduc Hamlet human Iago individual interpretation jazz jitterbug King King Claudius Lear listener lyricist Macbeth mass means melody mind modern multi-consciousness music hall music-hall music-hall song naturalistic nature never night Othello pantomime passage patriotic song performance Peter Davison play Player's speech players plugging poetic poetry popular drama popular music popular song present production Professor Schücking psychological recognition reference Roman scene serious music Shakespeare significance sing social speak stage standardization story suggestion symbolic taste theatre theme thought tion tradition tragedy Troilus Troilus and Cressida unconscious Variety Theater verse whole Wilson Knight words writing