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Search results for "the beatles"
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Your search for "the beatles" resulted in 353 matches |
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| 176 |
Alan W. Pollack's Notes on "She Came In Through The Bathroom Window". No. 188 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 177 |
Alan W. Pollack's Notes on "Can You Take Me Back". No. 198 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 "It's All Too Much". No. 160 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 180 |
Alan W. Pollack's Notes on "Do You Want To Know A Secret". No. 32.1 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 181 |
Alan W. Pollack's Notes on "Let It Be". No. 165 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 182 |
Alan W. Pollack's Notes on "Blue Jay Way". No. 125 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 183 |
Alan W. Pollack's Notes on "Revolution" and "Revolution 1". No. 129 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 184 |
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. |
| 185 |
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. |
| 186 |
Alan W. Pollack's Notes on ... Series 29 - 64. Alan W. Pollack's Notes on ... Series 29 - 64 |
| 187 |
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. |
| 188 |
Alan W. Pollack's Notes on "I've Just Seen A Face". No. 74 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 189 |
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. |
| 190 |
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. |
| 191 |
Alan W. Pollack's Notes on "Don't Pass Me By". No. 142 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 192 |
Alan W. Pollack's Notes on "I Need You". No. 71 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 193 |
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. |
| 194 |
Alan W. Pollack's Notes on "I'll Be Back". No. 19.1 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 195 |
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. |
| 196 |
Alan W. Pollack's Notes on "Martha My Dear". No. 137 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 197 |
Alan W. Pollack's Notes on "Yesterday". No. 75 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 198 |
Alan W. Pollack's Notes on "I Want You (She's So Heavy)". No. 182 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs. |
| 199 |
Alan W. Pollack's Notes on "Wild Honey Pie". No. 134 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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