Read e-book online Extreme II - Pornograffitti: A Funked Up Fairy Tale PDF

By Extreme

ISBN-10: 0634036084

ISBN-13: 9780634036088

Note-for-note transcriptions with tab of all of Nuno Bettencourt's guitar paintings on Extreme's hugely winning moment album. contains the relocating mega-hit "More Than phrases" and a dozen extra: Decadence Dance * Get the Funk Out * He-Man lady Hater * gap Hearted * It ('s a Monster) * Li'l Jack Horney * cash (In God We belief) * Pornograffitti * track for romance * Suzi (Wants Her All Day What?) * while I First Kissed You * whilst i am President.

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Additional resources for Extreme II - Pornograffitti: A Funked Up Fairy Tale

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Tasks, instruments, silence, ‘games and the rules and their interpretation’ form the basis for the section on Performance, while ‘focus’ and ‘music and life’ constitute subcategories within the experience of Listening. 64 Similarly, musical instruments are no longer constrained by traditional function – ‘not simply as a means of making sounds in the accepted fashion’. 65 One of the most important musical consequences of the experimental aesthetic were ‘that processes [involved … were] the most direct and straightforward A ‘Draft Outline’ of the book, dated ‘August 1970’, is contained in Nyman’s archives.

Ibid. html (accessed 3 January 2012)). 47 ‘Harrison Birtwistle’, London Magazine, 11 (October/November 1971). 48 For more on Nyman’s use of quotation, see my The Music of Michael Nyman: Texts, Contexts and Intertexts (Aldershot: Ashgate 2007). 43 44 12 Michael Nyman: Collected Writings interesting to note that many of his theories about quotation were already being refined and developed some years before he placed theory into practice. The notion of borrowing extends back to Nyman’s musicological research into the techniques and methods of Baroque composers during the mid-1960s.

While the music of La Monte Young and Terry Riley was becoming known by the end of the 1960s in the UK through Cardew’s writings and performances of their music, apart from a broadcast of ‘Come Out’ on the BBC’s Third Programme in 1970, Steve Reich’s music was relatively unknown, and Philip Glass’s music almost completely so. This was also true, to an extent, in the United States, where the four composers lived and worked. Nyman thus played an active role in introducing their music to a wider audience.

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