Download Who the fuck is Alice?: 101 Antworten auf die drängendsten by Evelyn Peternel, Andreas R. Peternell PDF
By Evelyn Peternel, Andreas R. Peternell
"Können diese Augen lügen?" - Fettes Brot, 1998 - Popmusik ist ein unerschöpflicher Fundus. Sie begleitet uns durch die Abgründe der Pubertät, weist in Liebesdingen den richtigen Weg und unterstützt unseren Kampf gegen das institution. Alle drängenden Fragen des Lebens hat sie für uns formuliert. Kann denn Liebe Sünde sein? used to be hat dich bloß so ruiniert? Und wer zum Teufel ist Alice? Bisher haben wir leider kaum befriedigende Antworten auf diese Fragen. Oft wurden sie als rhetorisch missverstanden oder einfach hilflos ignoriert. Peternell & Peternel (weder verwandt noch verheiratet) schaffen nun endlich Abhilfe. Anhand neuster wissenschatlicher Erkenntnisse, sorgfältiger Recherche und vielfältigem Insider-Wissen ist es ihnen gelungen, bessere Antworten zu finden, als die Fragenden es sich hätten träumen lassen. Wenn die Violent Femmes wissen wollen "Why do birds sing?" erhalten wir einen Exkurs in das Universum mobiler Kommunikation, Zarah Leanders "Kann denn Liebe Sünde sein?" ist Ausgangspunkt einer travel de strength durch Weltreligionen und Rechtssysteme und "Can't you listen my heartbeat?" von Herman's Hermits lässt sich mit einem Blick in die Historie der Herzchirurgie klar und überzeugend beantworten.
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From the Preface :
This ebook illustrates a suite of song manuscripts which used to be made in recent times to learn the root for modern functionality Arts. the gathering was resolute by means of situations instead of any strategy of choice. hence it indicates the various instructions within which tune notation is now going. The manuscripts are usually not prepared in accordance with sorts of tune, yet alphabetically in accordance with the composer's identify. No explanatory details is given.
The textual content for the publication is the results of a technique utilizing I-Ching likelihood operations. those made up our minds what number phrases concerning 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 in particular written for this publication, they're preceded by means of a paragraph signal and by way of 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 accidentally operations. This method was once with a view to reduce the adaptation 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 write down approximately notation or some· factor proper to it. ) A precedent for the absence of data which characterizes this booklet is the modern aquarium (no longer a depressing hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo 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 track publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Example text
It helps to explain—along with the visual impetus in Mendelssohn's music—the premium on surface, the stress on formal clarity and coherence, the long line, and the avoidance of developmental complexity and a sense of asymmetry. 6 ' Mendelssohn's commitment constituted an ethical response to his concern for the failures of ordinary language to transmit truth and engender harmony. Music a n d the Public: T h e M e n d e l s s o h n i a n Project T h e primacy o f music as a means of human communication in Mendelssohn's mind had little to do with the notion of absolute music associated with Eduard Hanslick and the opponents of Wagner that became widespread after the publication of Hanslick's tract (On the Beautiful in Music) in 1854.
In order to do that the true musical subject had to reflect not subjective individuality but generalizable truths whose ethical and aesthetic meaning was coincident with universal applicability. "*8 Mendelssohn, after all, was not an admirer of Meyerbeer and French grand opera. 49 It was precisely this paradox, perceived by Mendelssohn, about how alluring theatrical spectacles and the higher purposes of art could be reconciled on the operatic stage that Wagner took upon himself to solve. T h e theater could transcend the role of providing mere fantasy and entertainment and become a moral, emotional, and political force.
T h e process of exit from the ghetto and assimilation progressed concurrently with the liberalization o f economic activity and the end of the vestiges of a restrictive feudal economic order. As early as the late eighteenth century, the economic impact of toleration and Jewish emancipation—in terms of tax revenue and economic activity and its benefits for the state—had been widely discussed, but in a largely positive vein. By the time Bauer, Marx, and Wagner came to write their tracts on Jews, a negative linkage between Jews and the evils of capitalism had become commonplace—a radical transformation of earlier images of the Jew as Shylock and court financier.