Titlebook: Rock Music in Performance; David Pattie Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Limited 2007

推翻

书目名称Rock Music in Performance影响因子(影响力)




书目名称Rock Music in Performance影响因子(影响力)学科排名




书目名称Rock Music in Performance网络公开度




书目名称Rock Music in Performance网络公开度学科排名




书目名称Rock Music in Performance被引频次




书目名称Rock Music in Performance被引频次学科排名




书目名称Rock Music in Performance年度引用




书目名称Rock Music in Performance年度引用学科排名




书目名称Rock Music in Performance读者反馈




书目名称Rock Music in Performance读者反馈学科排名

和音

4Real: Performance and Authenticityanic Street Preachers gig. An . reporter, Steve Lamacq, had been critical of the Preachers: in particular, he had accused them of traducing the spirit of rock, of shamelessly mining rock history for their music and attitude, and of committing the ultimate rock crime of inauthenticity:.Edwards’ act o

Flounder

Performance and Mediation: Performance, Space and Technologyance, rather than as an expression of sub-cultural solidarity or as an incidental part of the industrial processes of popular culture. One of the few writers who treats the process with anything like the attention it deserves is Philip Auslander, whose book . (first published in 1999) deals with liv

易于出错

Performance, Gender and Rock Musicl that it renders them oblivious to anything other than the transcendent moment of communal ecstasy. The thrill of unbridled sexuality has, arguably, always been part of the appeal of popular music (one thinks, for example, of the bawdy versions of Burns’ folk songs, and the carefully overt . in mus

夸张

NAUT

The 1970senues opened up to accommodate rock bands: at the same time, the larger bands began to carry their own backstage crews. For example, the Stones, touring America in the early 1970s, employed a lighting designer — E. Beresford, or Chip, Monck — to create a lighting design that could be carried from ve

legitimate

ACE-inhibitor

The 1990snticity could be proclaimed in performance; either directly (as with Nirvana or Oasis) or ironically (as with U2). However, this return to authenticity was played out against a stage environment which was becoming ever more controllable; film projections (a part of rock performance since the 1970s)

先兆

The 21st Century these advances have bedded down, and have become entirely normal parts of the performance event (and, as such, their power to disrupt the processes of authentication that Moore sees as crucial to the ascription of authenticity has lessened). However, there has been a change in the status of the tou

floodgate