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Search results for "the beatles"
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Your search for "the beatles" resulted in 355 matches |
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| 226 |
Alan W. Pollack's Notes on "Blackbird". No. 139 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 227 |
Alan W. Pollack's Notes on "Yes It Is". No. 66 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 228 |
Alan W. Pollack's Notes on "Sexy Sadie". No. 149 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Good Morning, Good Morning". No. 116 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "You Won't See Me". No. 9.1 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Glass Onion". No. 132 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "And Your Bird Can Sing". No. 98 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Piggies". No. 140 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "I Will". No. 144 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on ... Warning concerning Copyright Restrictions. Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Tell Me Why". No. 52 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Lucy In The Sky With Diamonds". No. 108 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Being For The Benefit Of Mr. Kite". No. 112 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Rocky Raccoon". No. 141 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "I'm Happy Just To Dance With You". No. 51 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Got To Get You Into My Life". No. 102 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Why Don't We Do It In The Road?". No. 143 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
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Alan W. Pollack's Notes on "Fixing A Hole". No. 110 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 244 |
Alan W. Pollack's Notes on "The Long And Winding Road". No. 175 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 245 |
Alan W. Pollack's Notes on "And I Love Her". No. 3.3 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 246 |
Alan W. Pollack's Notes on "Ob-La-Di, Ob-La-Da". No. 133 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 247 |
Promoting social change through audio repetition. Black musicians as creators and revivalists 1953-1978. The development of contemporary American music is clearly reflected in the integration of black composers, performers, and their songs into mainstream popular record charts. Between 1953 and 1978 a fascinating role reversal occurred. During that quarter century black artists shifted from creators to revivalists. To analyze this shift B. Lee Cooper here makes a careful examination of the cover recordings and song revivals. |
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Alan W. Pollack's Notes on ... Series 104 - 160. Alan W. Pollack's Notes on ... Series 104 - 160 |
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Alan W. Pollack's Notes on ... Series 161 - 196. Alan W. Pollack's Notes on ... Series 161 - 196 |
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Plagiarism or inspiration?. Some songs closely resemble one another. But, when can we say that the similarities are coincidental, come down to plagiarism or to something in between that may be labelled 'inspiration'? Adding about a dozen songs to some well-known cases, D. Pinter here unfolds a critical approach to judge alleged plagiarism in popular music. |
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