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This engaging and immensely readable book is the first history of British music to be published for fifty years. It tells the fascinating story of the people who have shaped Britain's musical life over the centuries: the composers and performers; the promoters and impresarios; the conductors and critics. It shows how its music evolved - and is still evolving - against a background of religious, social, political, technical and technological change. It addresses readers with all levels of musical knowledge and interest, from the musically-minded and musically-informed to those seeking an…mehr
This engaging and immensely readable book is the first history of British music to be published for fifty years. It tells the fascinating story of the people who have shaped Britain's musical life over the centuries: the composers and performers; the promoters and impresarios; the conductors and critics. It shows how its music evolved - and is still evolving - against a background of religious, social, political, technical and technological change. It addresses readers with all levels of musical knowledge and interest, from the musically-minded and musically-informed to those seeking an accessible introduction to the subject.
Volume Two tells the story of music in Britain during the nineteenth and twentieth centuries: the founding of new institutions, colleges and orchestras; and the growth of German influence under Queen Victoria and Prince Albert. It traces the rise in cultural importance of popular music: folk music from the countryside and the industrial and mining towns; popular song from the pleasure gardens and the music halls. It asks whether there really was an English Musical renaissance. It examines the cultural disruption and the consequences for music life of the two World wars. It looks at the post-1945 process of recovery; at the emergence of British opera, women composers, skiffle, trad jazz and symphonic rock. And it ends with the massive explosion of pop and rock music from the 1960s onwards, the radio and television programmes, the famous names and the classic albums.
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Autorenporträt
Laurence Bristow-Smith was educated at the University of Newcastle-upon-Tyne where he received a Doctorate for his work on the novelist and artist, Mervyn Peake. He spent four years in Morocco, teaching at the Université Mohammed V in Rabat. Returning to the UK, he joined the Foreign & Commonwealth Office, learnt Chinese at SOAS, and spent time in both Taiwan and China, where he was caught up in Tiananmen Square incident in 1989. During the 1990s, he headed the China Department in the Foreign Office and then worked in the decentralising, ex-socialist economies of Central and Eastern Europe, spending time in Croatia, Bosnia and Kosovo. In 2000, he was posted to Norway; and in 2005 moved to Milan as Consul General and Director General for Trade and Investment. He left the Diplomatic Service in 2005, since when he has divided his time between acting as a international business consultant and running a guest house in Dumfries and Galloway. At the age of twelve, a peripatetic music teacher came to Laurence's school to give a demonstration how to play brass instruments. It was a moment that changed his life. He was seized with a desire to learn to trombone. He played in his school orchestra and in the Kent Youth Orchestra under Bela de Csillery. His performing career did not last long, but the experience gave him a passion for music which has lasted ever since. In the heady days of the 1970s, he ran discos and folk clubs in Newcastle-upon-Tyne. During his subsequent career, he was able to become involved with, and offer help and support to groups and artists as diverse as the Moroccan folk group Nass el Ghiwane, a Tibetan dance troupe, a Chinese opera company and the European Union Youth Orchestra. Together with the late Kenny Craddock, Laurence also wrote a stage musical, Spooner, and songs which have been recorded by artists including Liane Carroll and Fairport Convention.
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