Sounds of India : die Rezeption indischen Instrumentalkolorits bei Rockjazz-Gitarristen
| dc.contributor.author | Szegedi, Márton | |
| dc.date.accessioned | 2022-06-02T11:37:56Z | |
| dc.date.available | 2014-02-07T13:08:08Z | |
| dc.date.issued | 2012 | |
| dc.identifier.issn | 1612-8001 | |
| dc.identifier.uri | http://nbn-resolving.de/urn:nbn:de:hebis:26-opus-106962 | |
| dc.identifier.uri | https://jlupub.ub.uni-giessen.de//handle/jlupub/968 | |
| dc.identifier.uri | http://dx.doi.org/10.22029/jlupub-837 | |
| dc.description.abstract | Indian 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.iso | de | de_DE |
| dc.rights | In Copyright | * |
| dc.rights.uri | http://rightsstatements.org/page/InC/1.0/ | * |
| dc.subject.ddc | ddc:780 | de_DE |
| dc.title | Sounds of India : die Rezeption indischen Instrumentalkolorits bei Rockjazz-Gitarristen | de_DE |
| dc.type | article | de_DE |
| dcterms.isPartOf | 2146766-3 | de_DE |
| local.affiliation | Extern | de_DE |
| local.source.journaltitle | Samples | |
| local.source.volume | 11 | |
| local.source.articlenumber | 03 | |
| local.opus.id | 10696 | |
| local.opus.fachgebiet | Externe Einrichtungen | de_DE |
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