David Brodbeck
Biographic Data
| ID | 1653659 |
|---|---|
| NAME | David Brodbeck |
| GIVEN NAMES | David |
| FAMILY NAME | Brodbeck |
| SIGNATURE | BRODBECK D |
| AFFILIATIONS | University of California, Irvine |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
“You Don’t Just Stick It Together”
Paul McCartney’s admiration for the work of Brian Wilson is well known, and the inspiration he took from Wilson’s Pet Sounds (1966) during the period of Sgt Pepper(1966–67) has been often noted. What has hitherto gone unremarked is that some of the most striking features of McCartney’s work already on Revolver (1966) can likewise be traced to Wilson’s mid-decade project of musical experimentation, beginning with the single “The Little Girl I Once…
Carlos Chavez and His World
Carlos Chávez (1899–1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chávez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style—diatonic, dissonant, contrapuntal—addressed both modernity and Mexico's indigenous past. Chávez was also a governmental arts adminis…
Hanslick's Smetana and Hanslick's Prague
This article examines the Viennese critic Eduard Hanslick's reception of the music of Bedřich Smetana during the 1880s and 1890s. In three case studies, it suggests that the critic's reviews are best understood in terms not of Smetana's Czech nationalism, but of Hanslick's German liberalism, and of the critic's memories of the youthful background he shared with Smetana in German-speaking yet nationally indifferent Vormärz Prague
Goldmark, Carl
Carlos Chavez and His World
Carlos Chávez (1899–1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chávez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style—diatonic, dissonant, contrapuntal—addressed both modernity and Mexico's indigenous past. Chávez was also a governmental arts adminis…
Goldmark, Carl
Hanslick's Smetana and Hanslick's Prague
This article examines the Viennese critic Eduard Hanslick's reception of the music of Bedřich Smetana during the 1880s and 1890s. In three case studies, it suggests that the critic's reviews are best understood in terms not of Smetana's Czech nationalism, but of Hanslick's German liberalism, and of the critic's memories of the youthful background he shared with Smetana in German-speaking yet nationally indifferent Vormärz Prague
Carlos Chavez and His World
Carlos Chávez (1899–1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chávez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style—diatonic, dissonant, contrapuntal—addressed both modernity and Mexico's indigenous past. Chávez was also a governmental arts adminis…
“You Don’t Just Stick It Together”
Paul McCartney’s admiration for the work of Brian Wilson is well known, and the inspiration he took from Wilson’s Pet Sounds (1966) during the period of Sgt Pepper(1966–67) has been often noted. What has hitherto gone unremarked is that some of the most striking features of McCartney’s work already on Revolver (1966) can likewise be traced to Wilson’s mid-decade project of musical experimentation, beginning with the single “The Little Girl I Once…
Art (3 works) · Literature (3 works) · Art history (2 works) · History (2 works) · Musical (2 works) · Musicology and Musical Analysis (2 works) · Philosophy (2 works) · 20th century (1 work) · Admiration (1 work) · Aesthetics (1 work)