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The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
The Musical Characteristics of the Beatles
The Musical Characteristics of the Beatles The Government of the Hong Kong Special Administrative Region Education Bureau 2009 The Musical Characteristics of the Beatles Michael Saffle Government of the Hong Kong Special Administrative Region. All rights reserved. No part of this publication can be reproduced in any form or by any means, or otherwise, without the prior written consent of the Government of the Hong Kong Special Administrative Region. Content 1 The Beatles: An Introduction 1 2 The Beatles as Composers/Performers: A Summary 7 3 Five Representative Songs and Song Pairs by the Beatles 8 3.1 “Love Me Do” and “Please Please Me” (1962) 8 3.2 “Michelle” and “Yesterday” (1965) 12 3.3 “Taxman” and “Eleanor Rigby” (1966) 14 3.4 “When I’m Sixty-Four” (1967) 16 3.5 “Lucy in the Sky With Diamonds” (1967) 18 4 The Beatles: Concluding Observations 21 5 Listening Materials 23 6 Musical Scores 23 7 Reading List 24 8 References for Further Study 25 9 Appendix 27 (Blank Page) 1 The Beatles: An Introduction The Beatles—sometimes referred to as the ‘Fab Four’—have been more influential than any other popular-music ensemble in history. Between 1962, when they made their first recordings, and 1970, when they disbanded, the Beatles drew upon several styles, including rock ‘n’ roll, to produce rock: today a term that almost defines today’s popular music. In 1963 their successes in England as live performers and recording artists inspired Beatlemania, which calls to mind the Lisztomania associated with the spectacular success of Franz Liszt’s 1842 German concert tour. -
Royal Studios and the Creation of the Hi Sound
Royal Studios and the Creation of the Hi Sound Matt Hicks 2013 Rhodes Institute for Regional Studies To say the city of Memphis has a legacy of music is an understatement. From the home of the blues and to the birthplace of rock n' roll, from Elvis to Al Green, Memphis has served as a conduit of musical ideas, shaping and influencing upcoming artists with the legacies of their forerunners. The concentration of music in this city led to the development of many recording studios. In turn, these studios shaped Memphis's musical output. It is difficult to imagine rock and roll without the recordings created at Sun Studio in the fifties. In the following decades, soul music was nurtured at Stax and then Royal studios, creating a worldwide phenomenon. In many ways, Memphis’s recording spaces – and the producers and engineers that worked them – facilitated the growth of Memphis music. This is especially the case with Royal Studios. Unfortunately, many of the most successful of Memphis's recording studios were forced to close by the late seventies. Sun Studios began its decline after Elvis Presley left the label and am Phillips lost interest. The label was sold to Shelby Singleton and Mercury Records in 1969, and the studio was sold to an auto parts company, then converted back into a recording studio in 1987 and reopened as a museum. Stax met a similar fate in 1975, after several years of distribution problems with Atlantic Records and later CBS Records. Bankrupt by December of 1975, the Stax label was sold to Fantasy Records. -
Studio Design
.1111y 19S;9 FINCH PER/ The Applications Magazine for Audio Professionals AN INTERTEC PU3LICATION Studio Design .".4.' Focusrite: What Went Wrong? Ad of -the Year ,Contest www.americanradiohistory.com Attention Otar'i and Sonv /MCI Customers: G ou can afford quality ,,..00 and p- .00 . :-.. _ 00 -E i ;;A- Studer quality and performance has just entered OUP your price range with the affordable -very o 00."'15 affordable -A827 studio recorder, the first new a -2°" multichannel from Studer since its `2 23 standard- setting A820 -24. ,c - _ r * °EP Superior sound for music recording. The A827 ° is just plainly ahead of the competition. And why 19 s! s''" shouldn't it be? With the same transport and head _.1,-_ assembly, the same audio quality as its big brother, 0- the A827 is without doubt in the fdable Mice. Available in 24. 16 and 8 -track \ ,ions, the A827 features a computer trolled transport with 3 tape speeds, va ' , switchable Dolbÿ FIX' Pro and phase mpensated audio electronics. Featured for post production. For TV/Video/Film post production work, the A827 offers the fastest transport inithe business -0 to 600 ips in 4 seconds - and with 14" reel capacity. The optional chase lock synchronizer guarantees nobody'll be waiting on this machine. Post features like Reverse Play/Record and parallel/serial RS232 /422 control ports make for easy integration into post production facilities. There's never been a better time to part ways with those "other" machines...and move up to the famous Studer sound and quality. -
Sound Recording and Popular Music
SOUNDS AND IMAGES 4 Sound Recording and Popular Music Taylor Swift has become such a music-industry 115 The Development of phenomenon that the only artist in the world able Sound Recording to compete with her isn’t even human: It’s Elsa, 122 the cartoon ice princess from Disney’s Frozen, who U.S. Popular Music and sang the smash hit “Let It Go.” Even with Elsa on the Formation of Rock her heels, Swift still had the No. 1 album in the 129 United States in 2014, with her 3.66-million-selling A Changing Industry: Reformations in 1989 edging out the 3.57 million copies sold of the Popular Music Frozen soundtrack. No other artist was even close; 136 the next-biggest release was Sam Smith’s smash The Business of Sound Recording release In the Lonely Hour, which reached album sales of 1.2 million in 2014.1 144 Sound Recording, Since her debut release of Taylor Swift in 2006, at Free Expression, and Democracy the age of sixteen, Swift has become one of the best-selling singer-songwriters—not only of the past decade but of all time, transitioning from a country-based artist to a top pop-chart star. Her songs often tell personal stories and have gained a stronger feminist perspective over time, exempli- fied in such hits as “Love Story,” “You Belong with Me,” “Fifteen,” “We Are Never Ever Getting Back Together,” “I Knew You Were Trouble,” “Shake It Off,” “Blank Space,” and “Bad Blood.” Jun Sato/Getty Images for TS CHAPTER 4 • SOUND RECORDING AND POPULAR MUSIC 113 4 SOUND RECORDING AND POPULAR MUSIC Swift’s career has blossomed in the midst biggest among many artists dissatisfied of a changing music industry, and she has with the company’s low compensation for been a pioneer in terms of maintaining music creators. -
Genre and Parody in the Music of the Beatles
GENRE AND PARODY IN THE MUSIC OF THE BEATLES by Michael Connolly B. Mus., The University of Toronto, 2013 A THESIS SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2015 © Michael Connolly, 2015 Abstract From the earliest outbreak of “Beatlemania” in 1963 to the announcement of their breakup in 1970, The Beatles fulfilled, exceeded, and reformed our conceptions of popular music. They have enjoyed an enduring popularity with critics and audiences and have cemented their position as one of the most celebrated acts in popular culture. Although it would be difficult to attribute their success to a single factor, it could be argued that their eclectic sound ensured their mass appeal. As their careers progressed, The Beatles effortlessly combined and moved between different genres. Many of these genres were atypical for popular music of the 1960s and can be regarded as parody. This thesis approaches parody as an important stylistic trait of The Beatles’ music. Parody is a broad concept that can be found in a number of forms of art and entertainment. By drawing from literary criticism and musicological discourse, this study develops a broader understanding of parody in which popular musicians evoke the music of another genre through borrowing and create a critical distance between their work and the preexisting one. Further investigation reveals how The Beatles applied parody to their music and how it was used by the band to connect with their listeners. In such songs as “Back In The U.S.S.R.” and “Happiness Is A Warm Gun,” The Beatles parody different musical genres in order to evoke social commentary.