dc.contributor.author | Kaiser, Ulrich | |
dc.date.accessioned | 2022-06-02T11:38:11Z | |
dc.date.available | 2014-09-05T12:05:36Z | |
dc.date.issued | 2014 | |
dc.identifier.issn | 1612-8001 | |
dc.identifier.uri | http://nbn-resolving.de/urn:nbn:de:hebis:26-opus-110757 | |
dc.identifier.uri | https://jlupub.ub.uni-giessen.de//handle/jlupub/978 | |
dc.identifier.uri | http://dx.doi.org/10.22029/jlupub-847 | |
dc.description.abstract | The following research starts with the observation that in some hard rock songs a close relationship can be established between the initially exposed material of the vocals and the harmonies within the whole song. The disclosure of the epistemo-logical position is followed by references to recent essays regarding harmony in rock music by Walter Everett, Nicole Biamonte and David Temperley. Analyses of "Back in Black" by AC/DC, "Highway Star" by Deep Purple and "The Future Never Dies" by Scorpions form the essay´s main part. | 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 | Fraktale Strukturen im Hard Rock : "Back In Black" (AC/DC), "Highway Star" (Deep Purple) und "The Future Never Dies" (Scorpions) im Fokus einer musikanalytischen Perspektive | de_DE |
dc.type | article | de_DE |
dcterms.isPartOf | 2146766-3 | de_DE |
local.affiliation | Externe Einrichtungen | |
local.source.journaltitle | Samples | |
local.source.volume | 12 | |
local.source.articlenumber | 06 | |
local.opus.id | 11075 | |
local.opus.fachgebiet | Externe Einrichtungen | de_DE |