JANELL R. DUXBURY is a Librarian in Central Technical Services-Humanities, Memorial Library, University of Wisconsin-Madison. Her first discography of Rockin' the Classics was published in 1985. She has also contributed an article, Shakespeare Meets the Backbeat: Literary Allusion in Rock Music, in Popular Music and Society.
Rockin' The Classics And Classicizin' The Rock: A Selectively Annotated Discography First Supplementby Janell R. Duxbury
.The average listener may be unaware of the many links between rock music and the classics. One might remember a few examples, such as Walter Murphy's chart-topping A Fifth of Beethoven or Eric Carmen's All by Myself, but pass them off as interesting anomalies. However, the influence of the classics on rock music is pervasive and grows from a long/i>/i>
.The average listener may be unaware of the many links between rock music and the classics. One might remember a few examples, such as Walter Murphy's chart-topping A Fifth of Beethoven or Eric Carmen's All by Myself, but pass them off as interesting anomalies. However, the influence of the classics on rock music is pervasive and grows from a long line of precedents. This supplement to Janell R. Duxbury's original 1985 discography, Rockin' the Classics and Classicizin' the Rock, brings the earlier work up-to-date with hundreds of new entries documenting recently released or newly discovered examples of the interconnection between these musical genres.
Duxbury details more than 300 new examples of recorded rock instrumentals and songs that borrow musical themes from the classics. Variations range from contemporary renditions of complete classical works to brief classical quotes or phrases subtly incorporated into rock compositions. Duxbury also gives additional examples of recorded orchestral versions of songs originally composed and/or written by rock artists. In these examples, the musical style varies from strict classical interpretations to pop-style orchestral renditions. The supplement then expands Duxbury's original compilation of sound recordings and live performances of rock groups performing with established orchestras and choruses, selected samples of recorded rock music that simulates baroque or classical sound/structure, examples of the manifest influence of rock on classical music, and instances of rock artists and classical artists switching roles. Lastly, this discography updates the 1985 version with new information, expanded details, and minor corrections to the earlier work. An extended list of selected nonrock background examples is included in several new appendixes. The Introduction and Preface is also updated. A general index includes the names of classical composers, rock artists and groups, orchestras, choruses, orchestra conductors, sound recording producers, and song or instrumental titles. With its incomparable scope and content, this supplement, together with Duxbury's previous discography, will be appreciated by students, researchers, record collectors, trivia buffs, music industry employees, and fans of rock music and the classics.
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