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Download Continuum Encyclopedia of Popular Music of the World: by Paul Oliver, David Horn, Dave Laing, Peter Wicke PDF

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By Paul Oliver, David Horn, Dave Laing, Peter Wicke

Scanned and OCRed booklet, excessive quality

'I didn't imagine the second one quantity could be pretty much as good because the first. i used to be improper. So browse, learn it via, or simply use it as a reference - you can find there's regularly extra to profit. it's a fantastic accomplishment. somebody who cares approximately well known track must have this book.' Lawerence Grossberg, Morris Davis Professor of conversation reviews and Cultural reviews, collage of North Carolina at Chapel Hill

This moment quantity involves a few 460 entries by way of one hundred thirty participants from all over the world. Entries diversity among 250 and 5000 phrases, and are prepared in 4 elements:

Part I: Performers and acting;
Part II: Musical creation and Transmission;
Part III: Musical tools;
Part IV: Musical types and perform.

Entries comprise musical examples, bibliographies, discographies and filmographies. an in depth index is additionally supplied.

For additional info please stopover at:

www.continuumpopmusic.com

 

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Additional info for Continuum Encyclopedia of Popular Music of the World: Performance and Production (Volume 2)

Example text

They were supported broader set of ideals conducive to social cohesion. These by subscriptions and sometimes by employers. It was technical, social and economic conditions prevailed in a common for a band to use the name of the mill, factory century when there was a general trend in much of or coal mine in which its players worked. Some have Europe and also (to an extent) the United States toward taken this to mean that brass bands usually received patan industrial as opposed to an agricultural economic ronage from their members' employers, but it is doubtful base, and toward urbanization as opposed to ruralism.

Ms. Bradley was a champion ballroom dancer who launched her own orchestra in the 1930s. She would lead not only the orchestra, but also the dancers, and would partner amateur and professional dancers during the evening's entertainment. Like Silvester and Thompson, Bradley was regarded as a 'straight' dancing teacher, but, after a visit to the Feldman Swing Club in 1943, she 'converted' to jive dancing - a change that caused something of a furor. ' Despite the advent of rock 'n' roll in the mid-1950s, ballroom orchestras continued to exist, as ballroom dancing was still considered a necessary social skill.

Whereas 'old-time' string band music usually kept 2/4 time, often without a string bass, the string bass in bluegrass has tended to keep a flowing 4/4 or 'cut time' beat. While 'traditional' bluegrass bands have adhered strictly to this 'classic' acoustic string band and harmony formula, other bluegrass bands have absorbed different influences, just as Monroe did. 'Progressive bluegrass' (from the mid-1960s) and 'newgrass' (from the early 1970s) bands incorporated repertoire and performance practises (and, occasionally, even electric instruments) from folk and rock.

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