Hasil untuk "Oratory. Elocution, etc."

Fiona Rossette-Crake

Robert Lehrman, Andrew S. Crines

Peter J. Forshaw

Allison Bumsted

The conclusion reiterates the primary arguments of the book, and how TeenSet provides a primary example of the ways women music journalists have been misrepresented within popular music journalism and rock journalism. An exploration of the perceived “seriousness” of teen magazines and teen girl fandom groups follows. The conclusion ends by discussing the importance of preserving these cultural materials and filling in the gaps of scholarship in popular music and cultural history.

John Patrick Donnelly

Konstantinos Kapparis, Ilias Arnaoutoglou, Dimos Spatharas

Michelle Zimbalist Rosaldo

Lowell D. Holmes

Lloyd Etheredge, Maurice Bloch

R A Sharpe

Abstract I began the first chapter by imagining aliens trying to understand the human practices of making and listening to music. I now ask you to focus on one particular time in the history of Western music. In the sixteenth-century, composers began to develop substantial pieces of instrumental music which could take five or more minutes to perform. Sixteenth-century keyboard composers provide the earliest familiar examples of such music. How could they organize a piece in a way which would both hold the listener’s interest and impose a unity on the music? The answer to this question has a double significance. I shall suggest that the formal models for musical structure were, in part, drawn from classical discussions of rhetoric. But, as we shall see, rhetorical models have a pro-founder significance, for they provide the basis for a solution to the problem which has occupied us till now, the question of musical expression.