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加拿大硕士留学生作业—披头士摇滚音乐的黄金时代 [7]

论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2014-08-01编辑:felicia点击率:14716

论文字数:6718论文编号:org201407312154197352语种:英语 English地区:中国价格:免费论文

关键词:披头士乐队摇滚音乐Rock MusicmythicRelentlessly imaginative

摘要:本文是一篇音乐学留学论文。披头士乐队代表了一个世纪的音乐成就,对20世纪音乐流派的发展和音乐形式的多样性产生了巨大的影响。他们处于摇滚音乐盛行的时代,与20世纪其他的摇滚乐队相比,介绍了更多创新性的流行音乐,他们只做属于自己的最好的音乐,他们只做最受欢迎的音乐作品。本文主要对披头士的摇滚音乐进行了简单介绍。 充满激情四射的想象力和实践性,披头士仅仅抓住1964年所倡导的国际质量意识,并在接下来的六年里从不放手,在音乐包装所体现的创造力方面始终保持领先,但从来没有失去他们的沟通能力,即使大众的思想和审美变得日益复杂。“1970年他们离开乐坛后的数十年内,他们的摇滚音乐特点仍然未受到挑战,在乐坛上的地位仍然没有动摇”(詹森,劳埃德·2005)

and McCartney had long composed most of their tunes separately (you can almost always tell the composer by the lead vocalist). But they had always fed off of each other not only to supply missing bits and pieces that would bring a song to completion, but to provide a competitive edge that would bring out the best in the other. McCartney's romantic melodicism and Lennon's more acidic, gritty wit were perfect complements for one another. By the White Album, it was clear that each member was more concerned with his own expression than that of the collective group: a natural impulse, but one that was bound to lead to difficulties.


In addition, George Harrison was becoming a more prolific and skilled composer as well, imbuing his own melodies (which were nearly the equal of those of his more celebrated colleagues) with a cosmic lightness. Harrison was beginning to resent his junior status, and the group began to bicker more openly in the studio. Ringo Starr, whose solid drumming and good nature could usually be counted upon (as was evident in his infrequent lead vocals), actually quit for a couple of weeks in the midst of the White Album sessions (though the media was unaware of this at the time). Personal interests were coming into play as well: Lennon's devotion to romantic and artistic pursuits with his new girlfriend Yoko Ono was diverting his attentions from the Beatles. Apple Records, started by the group earlier in 1968 as a sort of utopian commercial enterprise, was becoming a financial and organisational nightmare.


These weren't the ideal conditions under which to record a new album in January 1969, especially when McCartney was pushing the group to return to live performing, although none of the others seemed especially keen on the idea. They did agree to try and record a 'back-to-basics,' live-in-the-studio-type LP, the sessions being filmed for a television special. That plan almost blew up when Harrison, in the midst of tense arguments, left the group for a few days. Although he returned, the idea of playing live concerts was put on the back burner; Harrison enlisted American soul keyboardist Billy Preston as kind of a fifth member on the sessions, both to beef up the arrangements and to alleviate the uncomfortable atmosphere.


“Exacerbating the problem was that the Beatles didn't have a great deal of first-class new songs to work with, although some were excellent. In order to provide a suitable concert-like experience for the film, the group did climb the roof of their Apple headquarters in London to deliver an impromptu performance on January 30, 1969, before the police stopped it; this was their last live concert of any sort.” (Jansen, 2000)


Generally dissatisfied with these early-1969 sessions, the album and film - at first titled Get Back, and later to emerge as Let It Be - remained in the can as the group tried to figure out how the projects should be mixed, packaged, and distributed. A couple of the best tracks, 'Get Back'/'Don't Let Me Down,' were issued as a single in the spring of 1969. By this time, the Beatles' quarrels were intensifying in a dispute over management: McCartney wanted their affairs to be handled by his new father-in-law, Lee Eastman, while the other members of the group favored a tough Amer论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。

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