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dc.contributor.authorSzegedi, Márton
dc.date.accessioned2022-06-02T11:37:56Z
dc.date.available2014-02-07T13:08:08Z
dc.date.issued2012
dc.identifier.issn1612-8001
dc.identifier.urihttp://nbn-resolving.de/urn:nbn:de:hebis:26-opus-106962
dc.identifier.urihttps://jlupub.ub.uni-giessen.de//handle/jlupub/968
dc.identifier.urihttp://dx.doi.org/10.22029/jlupub-837
dc.description.abstractIndian music and jazz first encountered one another in 1957; however, Indian music first achieved popularity in 1965 when George Harrison played the sitar in the Beatles song »Norwegian Wood (This Bird Has Flown)«. Both jazz and rock musicians subsequently began to incorporate Indian elements into their music; pop culture simultaneously experienced an »India boom«. Among jazz-related genres, fusion itself a hybrid form most readily absorbed elements of popular music; thus, Indian elements can be found particularly often in the work of rock/jazz musicians. This study considers the reception of Indian music by fusion uitarists, with particular emphasis on instrumentation.en
dc.language.isodede_DE
dc.rightsIn Copyright*
dc.rights.urihttp://rightsstatements.org/page/InC/1.0/*
dc.subject.ddcddc:780de_DE
dc.titleSounds of India : die Rezeption indischen Instrumentalkolorits bei Rockjazz-Gitarristende_DE
dc.typearticlede_DE
dcterms.isPartOf2146766-3de_DE
local.affiliationExternde_DE
local.source.journaltitleSamples
local.source.volume11
local.source.articlenumber03
local.opus.id10696
local.opus.fachgebietExterne Einrichtungende_DE


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