Reviving the practice of using elements of popular music in classical composition, an approach that had been in hibernation in the United States during the 1960s, composer Philip Glass (born 1937) embraced the ethos of popular music in his compositions. Glass based two symphonies on music by rock musicians David Bowie and Brian Eno, but the symphonies' sound is distinctively his. Popular elements do not appear out of place in Glass's classical music, which from its early days has shared certain harmonies and rhythms with rock music. Yet this use of popular elements has not made Glass a composer of popular music. His music is not a version of popular music packaged to attract classical listeners; it is high art for listeners steeped in rock rather than the classics.





Reviving the practice of using elements of popular music in classical composition, an approach that had been in hibernation in the United States during the 1960s, composer Philip Glass (born 1937) embraced the ethos of popular music in his compositions. Glass based two symphonies on music by rock musicians David Bowie and Brian Eno, but the symphonies' sound is distinctively his. Popular elements do not appear out of place in Glass's classical music, which from its early days has shared certain harmonies and rhythms with rock music. Yet this use of popular elements has not made Glass a composer of popular music. His music is not a version of popular music packaged to attract classical listeners; it is high art for listeners steeped in rock rather than the classics.



Reviving the practice of using elements of popular music in classical composition, an approach that had been in hibernation in the United States during the 1960s, composer Philip Glass (born 1937) embraced the ethos of popular music in his compositions. Glass based two symphonies on music by rock musicians David Bowie and Brian Eno, but the symphonies' sound is distinctively his. Popular elements do not appear out of place in Glass's classical music, which from its early days has shared certain harmonies and rhythms with rock music. Yet this use of popular elements has not made Glass a composer of popular music. His music is not a version of popular music packaged to attract classical listeners; it is high art for listeners steeped in rock rather than the classics.





It is refreshing to read a book about our planet by an author who does not allow facts to be (i)__________ by politics: well aware of the political disputes about the effects of human activities on climate and biodiversity, this author does not permit them to (ii)__________ his comprehensive description of what we know about our biosphere. He emphasizes the enormous gaps in our knowledge, the sparseness of our observations, and the (iii)__________, calling attention to the many aspects of planetary evolution that must be better understood before we can accurately diagnose the condition of our planet.









In parts of the Arctic, the land grades into the landfast ice so _______ that you can walk off the coast and not know you are over the hidden sea.





Although it does contain some pioneering ideas, one would hardly characterize the work as __________.






It was her view that the country's problems had been _______ by foreign technocrats, so that to ask for such assistance again would be counterproductive.






From its nineteenth-century beginnings onward, photography was often tasked with providing _____ images of individuals, yet at the same time, photographs were prized for their perceived realism and truthfulness.





The sand paintings that McCall created-a synthesis of painting, sculpture, and photography- were meant to be _____, preserved only in the memories of witnesses.





Science is a seemingly inexhaustible source of _____________, yet paradoxically scientists have been portrayed in recent decades as rather conservative--resisting innovation in their discipline sometimes to the point of dogmatism.





Instead of demonstrating the _____ of archaeological applications of electronic remote sensing, the pioneering study became, to some skeptics, an illustration of the imprudence of interpreting sites based on virtual archaeology.





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