Can Ege Bamyasi Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Can Ege Bamyasi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Ege Bamyasi Country: US Style: Krautrock, Prog Rock MP3 version RAR size: 1540 mb FLAC version RAR size: 1110 mb WMA version RAR size: 1497 mb Rating: 4.7 Votes: 956 Other Formats: DXD XM APE DMF WMA AUD AHX Tracklist 1 Pinch 9:28 2 Sing Swan Song 4:18 3 One More Night 5:35 4 Vitamin C 3:34 5 Soup 10:25 6 I'm So Green 3:03 7 Spoon 3:03 Companies, etc. Recorded At – Inner Space Studio Glass Mastered At – DADC Austria Credits Bass, Engineer, Edited By – Holger Czukay Drums – Jaki Liebezeit Guitar – Michael Karoli Keyboards – Irmin Schmidt Vocals – Damo Suzuki Written-By, Producer – Can Notes Recorded at Inner Space Studio in 1972. Made In Austria. Barcode and Other Identifiers Barcode: 4 015887 000087 Barcode (Sticker on jewel case on US distributed copy, covers the printed barcode.): 4 0158-87008-2 3 Matrix / Runout: SPOONDC-008 12 DADC AUSTRIA Matrix / Runout (variant 1): SPOONDC-008 12 A4 DADC AUSTRIA Label Code: LC 7395 Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year Ege Bamyasi (LP, United Artists UAS 29 414 I Can UAS 29 414 I Germany 1972 Album) Records Ege Bamyasi (LP, SPOON 008 Can Base Record SPOON 008 Italy Unknown Album, RE) Mute, Mute 9056-2, Spoon 9056-2, Spoon Ege Bamyasi (CD, Corporation, CD 008, spoon Can CD 008, spoon US 1998 Album, RE) Spoon Records, CD 008 CD 008 Spoon Records Ege Bamyasi (CD, PCD-18608 Can Album, RE, RM, P-Vine Records PCD-18608 Japan 2004 Blu) Ege Bamyasi (CD, Spoon CD 008 Can Spoon Records Spoon CD 008 Europe 1998 Album, RE) Related Music albums to Ege Bamyasi by Can Can - Moonshake Midnight Oil - Midnight Oil Plan E - E For Your Ears Can - Flow Motion Can - »Delay« 1968 Can - Saw Delight Can - Soon Over Babaluma Holger Czukay - Movies Can - Tago Mago Bob Dylan / The Band - Before The Flood.

Copy Link

Recommended publications

Instrumental) / Holger Czukay Movies
2007/08/04 Cool In The Pool / Holger Czukay Movies Cool In The Pool (instrumental) / Holger Czukay Movies Persian Love / Holger Czukay Movies How Much Are They / Holger Czukay, Jah Wobble and Jaki Liebezeit Full Circle Handle With Care / Traveling Wilburys The Traveling Wilburys Collection Maxine / Traveling Wilburys The Traveling Wilburys Collection Runaway / Traveling Wilburys The Traveling Wilburys Collection Running Scared / Roy Orbison The Essential Roy Orbison Hope For Us All / Nick Lowe At My Age Hey Girl / Freddie Scott Birth of Soul You'll Never Leave Him / Freddie Scott The Leiber & Stoller Story Vol.3 Brown Eyed Girl / Freddie Scott Vanthology For Once In My Life / Jean DuShon 未発売 For Once In My Life / Stevie Wonder Song Review - A Greatest Hits Collection Heaven Help Us All / Ray Charles and Gladys Knight Genius Loves Company Compared To What / Dee Dee Bridgewater Red Earth Move Along (Show's Over) / Beaver Nelson Beaver Nelson's Exciting Opportunity Damaged Goods / Jud Newcomb Byzantine We Can't Go On Meeting Like This / Hummingbird We Can't Go On Meeting Like This 2007/08/11 Ngoma～D-Fumo～Pink Guitar / Sim Redmond Band Live at Grassroots I Wish I Knew / Derek Trucks Band & Susan Tedeschi live @ Oregon Zoo, Portland - June 22, 2007 (not for sale) If I Should Fall Behind / Bruce Springsteen Live In Dublin Comment / Wilco Kicking Television Armagideon Time / The Clash From Here To Eternity Bodhisattva / Steely Dan Gold Cariba / Wes Montgomery Full House The Eleven / Grateful Dead Fillmore West 1969: The Complete Recordings Playing
[Show full text]
FUTURE SOUNDS Wie Ein Paar Krautrocker Die Popwelt Revolutionierten
FVTVRE SOVNDS Wie ein paar »Krautrocker« Christoph Dallach die Popwelt revolutionierten Suhrkamp SV Christoph Dallach FUTURE SOUNDS Wie ein paar Krautrocker die Popwelt revolutionierten Suhrkamp Für Maria (MoisE) Erste Auflage 2021 suhrkamp taschenbuch 4598 Originalausgabe © Suhrkamp Verlag Berlin 2021 Suhrkamp Taschenbuch Verlag Alle Rechte vorbehalten, insbesondere das der Übersetzung, des öffentlichen Vortrags sowie der Übertragung durch Rundfunk und Fernsehen, auch einzelner Teile. Kein Teil des Werkes darf in irgendeiner Form (durch Fotografie, Mikrofilm oder andere Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Umschlaggestaltung : Büro Dirk Rudolph Druck : C.H.Beck, Nördlingen Printed in Germany ISBN 978-3-518-46598-1 Inhalt Vorwort von Christoph Dallach 7 Kraut 11 DIE FÜNFZIGER Nachkriegsjugend 21 Jazz 50 DIE SECHZIGER Beat 71 Haare 86 WGs 94 1968 103 Neuanfang 127 Drogen 143 Zodiak 153 Kluster 163 DIE SIEBZIGER Kessler 173 Tangerine Dream 187 Kommerz 211 Moog 215 Amon Düül 225 A. R & Machines 244 Eigenpfade 252 Weltenbummler 271 Faust 280 Austausch 314 Can 320 Plank 367 Kraftwerk 376 Neu ! 384 Forst 393 Ausland 404 Staatsfeinde 413 Rolf-Ulrich Kaiser 427 Deutsch 464 Ende 469 Heute 472 Für immer (always) 478 Biografische Notizen 493 Bildnachweise 511 Danksagung 512 Vorwort von Christoph Dallach Meine erste Krautrockplatte gewann ich in einem Preisaus- schreiben. Die Aufgabe bestand darin, innerhalb eines knap- pen Zeitfensters irgendwo anzurufen. Ich kam sofort durch. Vielleicht hatte ich Glück, vielleicht war ich aber auch der einzige Anrufer. Egal, eine Woche darauf war die Platte da : »Movies« von Holger Czukay, mit krakeliger Kugelschreiber- Signatur vom Künstler höchstpersönlich.
[Show full text]
Can Delay 1968 Mp3, Flac, Wma
Can Delay 1968 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Delay 1968 Country: Germany Released: 1981 Style: Krautrock, Psychedelic Rock, Experimental MP3 version RAR size: 1450 mb FLAC version RAR size: 1540 mb WMA version RAR size: 1282 mb Rating: 4.6 Votes: 357 Other Formats: VOC VOX MP1 WAV AIFF DMF MOD Tracklist A1 Butterfly 8:20 A2 Pnoom 0:26 A3 Nineteen Century Man 4:18 A4 Thief 5:03 B1 Man Named Joe 3:54 B2 Uphill 6:41 B3 Little Star Of Bethlehem 7:09 Companies, etc. Recorded At – Schloß Nörvenich Produced At – Inner Space Studio Credits Bass, Engineer, Edited By – Holger Czukay Drums – Jaki Liebezeit Guitar – Michael Karoli Keyboards – Irmin Schmidt Lacquer Cut By – J.C.* Layout [Hüllengestaltung] – Eveline Grunwald Management – Hildegard Schmidt Photography By – Walter Kirchberger Producer – Can Vocals – Malcolm Mooney Written-By – Czukay*, Schmidt*, Liebezeit*, Mooney*, Karoli* Notes Recorded 1968/69 at Schloss Nörvenich. Barcode and Other Identifiers Rights Society: GEMA Label Code: LC 7395 Matrix / Runout (Label side A): 66.22 735-01-1 Matrix / Runout (Label side B): 66.22 735-01-2 Matrix / Runout (Runout side A, hand-etched): -CAN- "DELAY" Side one 012-A Matrix / Runout (Runout side B, hand-etched): -CAN- "DELAY" Side Two 012-B J.C. Other versions Title Category Artist Label Category Country Year (Format) Spoon Records, Delay 1968 Warner CDSPOON 12, CDSPOON 12, Can (CD, Album, Music Germany 2007 5051442-3553-2-1 5051442-3553-2-1 RE, RM) Group Central Europe Delay 1968 Japan JAL-2301 Can (LP,
[Show full text]
C.A.R. Presskit
C.A.R. Presskit We could go the long way around and talk about German post- war music history such as “Krautrock” , “Kosmische” and “Jazz- Rock” and what these terms mean to us. But we could also just say: “Hello, we are C.A.R. from Cologne and we play music as we like it: A little bit acoustic, a little bit electronic; on a trip, but without a specific destination; intense but not brutal; spherical, but not arbitrary; excessive, yet precise. Does this help you? No? Then stay a while and listen!” http://thisiscar.de https://www.facebook.com/thisiscar/ https://thisiscar.bandcamp.com/releases Contact Kenn Hartwig +49 176 23567404 [email protected] C.A.R. @ G5A, Mumbai, 2017 This is C.A.R. C.A.R. was founded in 2011 by Johannes Klingebiel and Kenn Hartwig in Cologne, Germany. After an early period of artistic orientation they released “Beyond The Zero” (2014), the “Interlude EP” (2017), “Look Behind You” (2018) and „Befunde ab 1999“ (2020). Originally playing experimental jazz, the media recently labeled their music as Krautrock, Kosmische, Electronica and experimental Pop. Among the highlights of the band´s career were gigs and residencies such as Fusion Festival, Jazzfest Kolkata and Casa Banchel in Madrid. By invitation of the Goethe Institute C.A.R. went on a four week long tour playing concerts in Pakistan, Sri Lanka and India in 2017. In November 2018 they went to China to play four concerts, taking part in the Jazz Improvise Meeting Festival. In 2019, C.A.R. curated and hosted the concert series “C.A.R.
[Show full text]
Eurythmics in the Garden Mp3, Flac, Wma
Eurythmics In The Garden mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: In The Garden Country: Germany Released: 1981 Style: New Wave, Pop Rock, Synth-pop MP3 version RAR size: 1257 mb FLAC version RAR size: 1797 mb WMA version RAR size: 1520 mb Rating: 4.8 Votes: 770 Other Formats: VOX XM MP3 MPC AAC WMA RA Tracklist Hide Credits English Summer A1 4:00 Drums – Clem BurkeGuitar – Dave Stewart*, Roger Pomphrey Belinda A2 3:58 Drums – Robert GörlFrench Horn – Holger Czukay Take Me To Your Heart A3 3:32 Drums – Jaki Liebezeit She's Invisible Now A4 3:27 Drums – Clem Burke Your Time Will Come A5 Brass – Holger Czukay, Jaki Liebezeit, Marcus Stockhausen*Drums – Clem BurkeGuitar – 4:30 Holger Czukay, Roger Pomphrey Caveman Head B1 3:56 Drums – Clem BurkeGuitar, Other [Shouting] – Roger Pomphrey Never Gonna Cry Again B2 3:02 Drums – Jaki LiebezeitFrench Horn – Holger CzukaySaxophone – Sir Timothy Wheater* All The Young (People Of Today) B3 4:11 Drums – Jaki Liebezeit Sing-Sing B4 4:03 Drums – Clem BurkeGuitar – Roger Pomphrey Revenge B5 4:31 Drums – Clem BurkeOther [Laughing] – Krista Fast Companies, etc. Made By – RCA Schallplatten GmbH Phonographic Copyright (p) – Dilkusa Music B.V. Recorded At – Conny's Studio Phonographic Copyright (p) – RCA Ltd. Credits Bass, Keyboards, Synthesizer, Backing Vocals – Dave Stewart* Design – Rocking Russian Keyboards, Synthesizer, Percussion, Flute, Vocals – Annie Lennox Photography By – Peter Ashworth Producer – Conny Plank, Eurythmics Written-By – Annie Lennox, Dave Stewart*, Roger Pomphrey (tracks: A1, B1) Notes Recorded at Conny's studio, Cologne between February 81 & June 81. "Jaki Liebezeit" is credited as "Jackie Liebzeik" on the album credits.
[Show full text]
Holger Czukay, Köln Juni 2004
Interview mit Holger Czukay, Köln Juni 2004 ?: Herr Czukay, sie haben schon Ende der 60er Jahre mit Tonband-Loops gearbeitet. Sind Loops für Sie ein relevantes, musikalisches Thema? Holger Czukay: Ja, ganz klar. Wie auch zum Beispiel die Remixe sind die Loops eine Kunstform, die an die Zeit und an die technische Entwicklung gebunden ist. Mit Can haben wir das recht früh angefangen. Weil die Digitaltechnik nicht entwickelt worden war, haben wir Loops mit Analogtechnik, also mit dem Tonband, gemacht. Wir mussten das machen, weil wir als Instrumentalisten nicht gut genug waren. Wir mussten massive Korrekturen anbringen, und mit den Korrekturen fängt eigentlich alles an. Die Aufnahme war eigentlich kein Problem, aber da waren so und soviel Fehler drin, weil wir alles andere als perfekt waren. Wir hätten eine Talentprobe gar nicht bestanden. Was uns groß gemacht hat, war unsere Vision: erstens mit kleinsten Einheiten, also Loops, die Grundlage für unsere Musik zu schaffen. Und zweitens, dass selbst unsere allerersten Aufnahmen, die wir eingespielt haben, alles beinhalten sollte, ohne etwas auszusagen. Das ist ein ganz wichtiges Argument, denn wenn Sie alles beeinhalten und nichts aussagen, dann sind sie cool. Die Musik, die sich daraus entwickelte, muss in dem, was wir das Grundband genannt haben, enthalten sein. ?: Warum soll man als Musiker nichts aussagen? Czukay: Wenn Sie etwas aussagen, dann nehmen Sie sich ja alles weg. Dann fangen sie an, zu interpretieren, und Interpretation ist das letzte, was wir wollen... ?: Das erinnert an bestimmte Aussagen von Künstlern der Minimal Art, zum Beispiel Donald Judd, der in Zusammenhang mit seiner Kunst von „specific objects“ gesprochen hat: Reihen von Objekten, die nur für sich selbst stehen..
[Show full text]
ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
[Show full text]
Keith Carlock
APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
[Show full text]
Goodbye Yesterday
Power Amplifier Frans de Wit Signature Origin Signature Century Author: Uwe Kirbach Photography: Rolf Winter Goodbye yesterday Once in a blue moon, a product ap- Amazement and astonishment are, at their best, two of the most beautiful emotions of which humans are capable. They tear you pears on the high-end market that from your everyday consciousness and enable you to have an al- leaves all technical convention in most child-like direct experience. This happened to me one day a few months ago, thanks to a newly-installed amplifier, and my the dust. This is undoubtedly true of amazement grew with every album I played. The setup was a pair the Signature Century power ampli- of Cessaro Wagners, fed by Jadis JA 80 power amps, and the whole system was really singing. However, there was also an amp that had fier from the Dutch designer Frans been sitting around in my listening room for some time, whose de Wit and his company Signature sound had made a favourable impression on me at several hifi shows. On the one hand, I wanted to try out the Signature Century Origin. So what does it sound like? power amp, but on the other hand not necessarily with the Wag- ners – why would you hook up a pair of high-efficiency speakers to a power amp that can deliver 400 watts into 2 Ohms, and, if pushed, has the capacity to supply up to 40 amperes (and accor- PDF image-hifi.com 2/2017 ding to the manufacturer, will be stable at any vol- have to wait until after the Cessaros made way for the ume with any speaker)? It doesn't normally sound power-hungry YG Acoustics Haileys in the listening good when an amp is working right at its lowest le- room.
[Show full text]
Sommer Og Lager Salg! 1
Sommer og lager salg! 1. august til 1. September 2012 Kun kr 175,- pr cd eks. frakt Bestill fra listen under så langt lageret rekker NY SESONG NYE OG TIMER BENYTT ANLEDNINGEN TIL Å FORNYE DITT MUSIKKBIBLIOTEK CD-er til redusert pris bestilles på mail [email protected] Vi bekrefter bestillingen, sender faktura pr. mail som må betales før cd-ene sendes ut . Husk navn og postadresse for levering og faktura Fortsatt god sommer! PRESENTER CHART HIP HOP Chart attack step cardio winter 11 Dance reggea Street dance 3 Back to Rythm Chart attack step cardio autum 11 Chart attack step cardio autumn 09 CHRISTMAS Back to groove Balazs Chart attack toning spring 10 Xmas finals Bravo Chart attack toningwinter10 megamix x- mas hits Calvinography Mega Hits Chart hits summer 11 white christmas Crispy ans Creamy - Balazs 2011 most wanted club hits step and Marry christmas Cool Vibration - Balazs dance DISCO Dance sensation - Sweppy Beats 2011 most wanted chart hits high cool and the gang meets boney m Dance sensation - Jessica E impact Disco fever 90s eurodance Dance sensation - Lenonel O 10 years move ya pim 90 RETRO Dance sensation - Patric G 10 years move ya Dance sensation -Christina Reiter step experience chart hits autumn 09 Disco fever 5 Dance and Feel - Patric L step experience chart hits summer 11 Disco meets house good vibration groove is in the house 80 pop meets house step sensation anton todrov decade 00 - 09 chart hits 126 bpm 80 pop meets house 2 Feel my beat - Robert S party kracker Disco meets house 2 Free- Sebastian Piateck cardio
[Show full text]
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H.
[Show full text]
Forma Y Fondo En El Rock Progresivo
Forma y fondo en el rock progresivo Trabajo de fin de grado Alumno: Antonio Guerrero Ortiz Tutor: Juan Carlos Fernández Serrato Grado en Periodismo Facultad de Comunicación Universidad de Sevilla CULTURAS POP Índice Resumen 3 Palabras clave 3 1. Introducción. Justificación del trabajo. Importancia del objeto de investigación 4 1.1. Introducción 4 1.2. Justificación del trabajo 6 1.3. Importancia del objeto de investigación 8 2. Objetivos, enfoque metodológico e hipótesis de partida del trabajo 11 2.1. Objetivos generales y específicos 11 2.1.1. Objetivos generales 11 2.1.2. Objetivos específicos 11 2.2. Enfoque metodológico 11 2.3. Hipótesis de partida 11 3. El rock progresivo como tendencia estética dentro de la música rock 13 3.1. La música rock como denostado fenómeno de masas 13 3.2. Hacia una nueva calidad estética 16 3.3. Los orígenes del rock progresivo 19 3.4. La difícil definición (intensiva) del rock progresivo 25 3.5. Hacia una definición extensiva: las principales bandas de rock progresivo 27 3.6. Las principales escenas del rock progresivo 30 3.7. Evoluciones ulteriores 32 3.8. El rock progresivo hoy en día 37 3.9. Algunos nombres propios 38 3.10. Discusión y análisis final 40 4. Conclusiones 42 5. Bibliografía 44 5.1. De carácter teórico-metodológico (fuentes secundarias) 44 5.2. General: textos sobre pop y rock 45 5.3. Específica: rock progresivo 47 ANEXO I. Relación de documentos audiovisuales de interés 50 ANEXO II. PROGROCKSAMPLER 105 2 Resumen Este trabajo, que constituye un ejercicio de periodismo cultural, en el que se han puesto en práctica conocimientos diversos adquiridos en distintas asignaturas del Grado de Periodismo, trata de definir el concepto de rock progresivo desde dos perspectivas complementarias: una interna y otra externa.
[Show full text]