Download That Magic Feeling: The Beatles' Recorded Legacy, Volume 2: by John C. Winn PDF
By John C. Winn
From Revolver to permit or not it's, That Magic Feeling: The Beatles Recorded Legacy, quantity Two, 1966—1970, maintains the chronicle of the group’s marvelous occupation from its artistic zenith to its irrevocable split
As the Beatles moved into the mid and overdue Nineteen Sixties, their collective and person musical expertise and suggestions developed at an extraordinary speed. Like its significant other quantity, Way past examine: The Beatles’ Recorded Legacy, quantity One, 1957—1965, this exact paintings completely chronicles all recognized and to be had Beatles recordings in this interval of fantastic artistic growth.
Have you ever watched a Beatles movie clip and wondered:
• the place was once that filmed?
• Is any further of that pictures available?
Have you ever heard a Beatles interview and asked:
• while used to be that taped?
• Where’s the easiest position to discover the entire recording?
That Magic Feeling solutions those and hundreds of thousands of comparable questions. With greater than 500 entries, it comprises recording periods, live shows, newsreel photos, press clips, television and picture performances, domestic video clips, radio interviews, documentaries, studio outtakes, domestic demos, and substitute mixes–all of that are given entire insurance for the 1st time.
Author John C. Winn has spent twenty years poring over, scrutinizing, organizing, and examining enormous quantities of hours of audio and video recordings and compiling them right into a digestible chronological framework, developing the last word reference consultant to the Beatles’ mythical musical and cultural evolution.
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From the Preface :
This publication illustrates a set of track manuscripts which was once made in recent times to profit the basis for modern functionality Arts. the gathering was resolute via conditions instead of any technique of choice. hence it indicates the various instructions during which track notation is now going. The manuscripts aren't prepared in line with types of tune, yet alphabetically in accordance with the composer's identify. No explanatory details is given.
The textual content for the ebook is the results of a technique utilising I-Ching probability operations. those made up our minds what percentage phrases relating to his paintings have been to be written by way of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were particularly written for this booklet, they're preceded via a paragraph signal and via the author's identify. different comments have been selected or written by way of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all decided by accident operations. This method used to be to be able to decrease the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor suitable to it. ) A precedent for the absence of data which characterizes this booklet is the modern aquarium (no longer a gloomy hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass residence with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this e-book. The editors are thankful to the numerous composers and song publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Additional resources for That Magic Feeling: The Beatles' Recorded Legacy, Volume 2: 1966-1970
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Band, 2. Hälfte, Frankfurt 1969) auf die neue Funktion dieser Selbstdarstellung im 18. Jahrhundert hin. Er betont die Zunahme von Autobiographien in Deutschland (S. 784f), jedoch erst um 1780, vor 1750 nur auf religiösem Gebiet, vor allem im Pietismus. Wenn schon ein so schmales Gebiet wie die Musik dem widerspricht, wirft das kein gutes Licht auf Mischs Gründlichkeit und sein Verständnis der bürgerlichen Emanzipation. »Suchen nach der individuellen Bestimmung<< (S. 779) ist wohl ein Zweck der neuen Aktivitäten.
Es war ein großer Unterschied, ob man sich entgegen dem Feudalismus emanzipieren und etwas Selbständiges, Spezifisches aufbauen wollte oder ob man sich nur aus kleinen Verhältnissen nach oben 30 Fürsten und Bürger: Voraussetzungen und Grundtendenzen durcharbeiten wollte, am sichersten unter Anlehnung an die Feudalherren. Wer aufmerksam um sich sah, kritisch dachte, aber nicht kämpferisch war, konnte nur eins tun: Vorsichtig sein! << (Marpurg 1760/78, S. 290; >>Vermischte Gedanken. ] << N r. 3 ) >>Der Umgang mit Personen von vornehmen Stande ist eine gute Schule artiger und wohlanständiger Sitten.
Rouvel, letzteres spezieller auf Musik bezogen). Man kann erwarten, daß die Hofhaltung in Dresden bei dieser zentralistischen Ausbeutungs- und Expansionspolitik problemlos ihre Repräsentation hätte betreiben können. Das Gegenteil davon war aber der Fall: Die Staatskasse war derartig verschuldet, daß immer neue Anleihen gemacht werden mußten und von I744 bis I7 so Teile der zeitweilig zu Sachsen gehörenden Grafschaft Henneberg (Franken) für 3,5 Millionen Taler an England verpfändet wurden; die Staatsschuld stieg von I732 bis I756 um mehr als das Achtfache auf über 40 Millionen Taler, ein Loch, das weder durch weitere Anleihen noch durch radikale Steuererhöhung noch schließlich dadurch zu stopfen war, daß I 7 55 eine bestimmte Steuereinnahme auf sieben Jahre an großbürgerliche Spekulanten verpachtet wurde, die nun das Einzugsmonopol hatten und die Bevölkerung hemmungslos schikanierten.