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Search results for "Alan W. Pollack "

 





Your search for "Alan W. Pollack " resulted in 311 matches
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201 Alan W. Pollack's Notes on "Tomorrow Never Knows". No. 103 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs.
202 Alan W. Pollack's Notes on "Taxman". No. 92 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs.
203 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.
204 Alan W. Pollack's Notes on ... Series 65 - 103. Alan W. Pollack's Notes on ... Series 65 - 103
205 Alan W. Pollack's Notes on ... Series. An alphabetical index to Alan W. Pollack's Notes on ... Series
206 Alan W. Pollack's Notes on ... Series 104 - 160. Alan W. Pollack's Notes on ... Series 104 - 160
207 Alan W. Pollak's Introduction to Notes on John's "Triple Crown": "Strawberry Fields Forever", "A Day in the Life", and "I Am the Walrus". No. 23.1 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs.
208 Alan W. Pollack's Notes on ... Warning concerning Copyright Restrictions. Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs.
209 Frequently Asked Questions about the 'Notes on ...' Series (also known as ... Notes on the 'Notes on ...' Series). No. 90/58 in Alan W. Pollack's Notes on ... Series, a musicological analysis of all Beatles' songs.
210 "Alternate" versions — which are the best?. Alternate" versions="" of="" the="" an="" extra="" in="" alan="" w.="" notes="" on="" a="" musicological="" analysis="" of="" all="
211 Note from Alan Keen to the DJ's on the M.V. Galaxy (9th July 1965). Note from Alan Keen to the DJ's on the M.V. Galaxy (9th July 1965).
212 The magnificent flat-seventh. Nowadays the flat-seventh is a fully accepted member of the family of chords that populate the inlands of popular music. That has been quite different in the past. The chord's rise to acceptance coincides and therefore is often conflated with the successes of the Beatles. Here D. Pinter goes back in time, looking for the flat-seventh in the popular songs of the decade before the Beatles' hits topped the charts.
213 Words and chords. The semantic shifts of the Beatles' chords. In the Beatles' songs each of the basic chords can be replaced by several other types of chords. Separated by minor third intervals, the tones of these stand-in chords show a diagonal relationship. This principle of diagonal substitution helps the listeners to understand the songs musically. Closer study of the early Beatles' songs reveals yet another point of support. As Ger Tillekens shows, in each song there is a tight relation between the clusters of these stand-in chords and the semantics of the lyrics.
214 Soundscapes Zeezender Discografie: songs (M) die werden gebruikt als deejay- en programma-tune. Een discografie van bijna alles wat ooit over de zeezenders op single, EP, LP of CD is uitgebracht. Met op deze pagina een overzicht van songs (M) die werden gebruikt als deejay- en programma-tune.
215 The magnificent flat-seventh. Nowadays the flat-seventh is a fully accepted member of the family of chords that populate the inlands of popular music. That has been quite different in the past. The chord's rise to acceptance coincides and therefore is often conflated with the successes of the Beatles. Here D. Pinter goes back in time, looking for the flat-seventh in the popular songs of the decade before the Beatles' hits topped the charts.
216 Soundscapes Zeezender Discografie: songs (A) die werden gebruikt als deejay- en programma-tune. Een discografie van bijna alles wat ooit over de zeezenders op single, EP, LP of CD is uitgebracht. Met op deze pagina een overzicht van songs (A) die werden gebruikt als deejay- en programma-tune.
217 A flood of flat-sevenths. According to many pop-musicologists the flat-seventh chord, or subtonic, can be regarded as one of the marks of the Beatles' experimental period. On the Beatles' 1966 album Revolver this chord is paired to a lavish use of quartal harmonies. Is this peculiar chord responsible for the album's atmosphere? Answering this question, Ger Tillekens here takes a closer look at the flat-seventh.
218 Soundscapes: Editorial (April 2003). Soundscapes, online journal on media culture, now has been online for five long years. So we thought it was about time to redesign our pages to a new format. Last month we have been quite busy reworking all our pages and we hope you like the results.
219 Soundscapes Zeezender Discografie: songs (C) die werden gebruikt als deejay- en programma-tune. Een discografie van bijna alles wat ooit over de zeezenders op single, EP, LP of CD is uitgebracht. Met op deze pagina een overzicht van songs (C) die werden gebruikt als deejay- en programma-tune.
220 Soundscapes Zeezender Discografie: songs (B) die werden gebruikt als deejay- en programma-tune. Een discografie van bijna alles wat ooit over de zeezenders op single, EP, LP of CD is uitgebracht. Met op deze pagina een overzicht van songs (B) die werden gebruikt als deejay- en programma-tune.
221 Soundscapes Zeezender Discografie: songs (J) die werden gebruikt als deejay- en programma-tune. Een discografie van bijna alles wat ooit over de zeezenders op single, EP, LP of CD is uitgebracht. Met op deze pagina een overzicht van songs (J) die werden gebruikt als deejay- en programma-tune.
222 The Voice of Europe. If there's one radio station that has won a warm spot in the collective memory of European radio listeners, it's no doubt Radio Luxembourg. Focussing on the 208 service, which was opened by Pete Murray on July 2nd 1951 and closed down on 31-12-2015, Philip Champion elucidates the station's history and especially its programmes.
223 Hancock's Half Hour. Tony Hancock's Half Hour (1954-1959) was one of the most popular programmes ever to be aired by the BBC Light Programme. Geoff Baldwin here looks back at the life and work of Anthony Aloysius St. John Hancock and his associates like Sid James, Bill Kerr, Kenneth Williams, Hattie Jacques and Hugh Lloyd.
224 Deejays of the Voice of Peace, 1973-1993. Like on many other offshore radio stations a lot of people have worked for the Voice of Peace. During its twenty years of broadcasting — sometimes irregularly — the station housed almost 250 deejays/presenters. Hans Knot here lists their names. A rundown of the deejays was previously published in a Dutch book about the station in 1992 and has now, with the help of Chris Edwards and Mike Darby, been updated for our series on the Voice of Peace.
225 RNI in the British newspapers. In the early days of February 1970 the British press waked up to the news, that RNI would start broadcasting in the English and German language. The national and local newspapers took great pains to inform their readers. Journalists even were flown to Holland to visit RNI's ship, the MEBO II.
   
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