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Search results for "the beatles"
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Your search for "the beatles" resulted in 350 matches |
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| 176 |
Alan W. Pollack's Notes on "Lady Madonna". No. 127 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 177 |
Alan W. Pollack's Notes on "I'll Cry Instead". No. 53 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 178 |
Alan W. Pollack's Notes on "Oh! Darling". No. 180 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 179 |
Alan W. Pollack's Notes on "Wait". No. 87 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 180 |
Alan W. Pollack's Notes on "Old Brown Shoe". No. 164 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 181 |
Alan W. Pollack's Notes on "I Want To Tell You". No. 101 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 182 |
Alan W. Pollack's Notes on "The Night Before". No. 70 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 183 |
Alan W. Pollack's Notes on "Octopus's Garden". No. 181 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 184 |
Alan W. Pollack's Notes on "Yer Blues". No. 146 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 185 |
Alan W. Pollack's Notes on "Girl". No. 84 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 186 |
Alan W. Pollack's Notes on "The Continuing Story Of Bungalow Bill". No. 135 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 187 |
Alan W. Pollack's Notes on "Julia". No. 145 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 188 |
Alan W. Pollack's Notes on "Everybody's Got Something To Hide Except For Me And My Monkey". No. 148 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 189 |
Alan W. Pollack's Notes on "The Word". No. 81 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 190 |
Alan W. Pollack's Notes on "Mother Nature's Son". No. 147 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 191 |
Alan W. Pollack's Notes on "Helter Skelter". No. 150 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 192 |
Alan W. Pollack's Notes on "Carry That Weight". No. 190 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 193 |
Alan W. Pollack's Notes on "Maxwell's Silver Hammer". No. 179 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 194 |
Alan W. Pollack's Notes on "Ask Me Why". No. 33.1 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 195 |
Alan W. Pollack's Notes on "Across The Universe". No. 169 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 196 |
Alan W. Pollack's Notes on "Savoy Truffle". No. 153 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 197 |
Alan W. Pollack's Notes on "Mean Mr Mustard". No. 186 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 198 |
Alan W. Pollack's Notes on ... Series 65 - 103. Alan W. Pollack's Notes on ... Series 65 - 103 |
| 199 |
Alan W. Pollack's Notes on "Taxman". No. 92 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 200 |
Plezier en protest. Voor veel mensen staat de popmuziek uit de jaren zestig gelijk aan protestmuziek. Toch vormden protestsongs maar een miniem deel van die muziek. De meeste songs uit dat onstuimige decennium zijn vrolijke liefdesliedjes. Pop is, kort gezegd, meer plezier dan protest. Dit doet evenwel niets af van de reputatie die popmuziek heeft verworven als de muziek van de sociale verandering. De kracht van popmuziek schuilt in haar muzikale idioom, waarmee ze — in liefdesliedjes net zo goed als in protestsongs — de algemene principes uitdroeg van respect, reciprociteit en empathie. Die principes vormen de verborgen schakel tussen jeugd- en tegencultuur en verklaren, zo betoogt Ger Tillekens in dit artikel, de rol die de popmuziek speelde in de culturele revolutie van de jaren zestig. |
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