By Chris Charlesworth
From Elvis Presley's sunlight periods to Radiohead's okay machine, here's some of the best of rock and pa track of the 20 th Century. Former 'Melody Maker' editor Chris Charlesworth enlisted 17 different song writers/journalists to select 25 albums that "defined their period, driven the bounds a section or...simply offered in such large amounts that they're very unlikely to ignore." (That explains why 'Abba Gold' is included).
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Extra resources for 25 Albums That Rocked The World
The examples above reflect interpretative manoeuvres. Sharpe warns of the ‘aesthetic repercussions’ of such inconstancy, though such need not be fatal to performance unity. A stunningly tasteless performance of a work is just that. Such interpretive jolts are more like a sudden rush of gutter profanities at a diplomatic gathering than they are like the assassination of a diplomatic mission during negotiations. Tastelessness doesn’t quite destroy the piece or the performance; however, it does wreck the mood.
Occasionally, the failure may be so dramatic as to compel us to withhold saying that the performance was of anything recognizable, even if we consider it an attempted performance of some work; for instance, the attempt at coloratura soprano solos undertaken by Florence Foster Jenkins. Concern about what exactly was performed, if anything, in a fatally botched recital presupposes strong reference to some independently identifiable work. Suppose that any performance must be of some definite work, and must be intended to be of that work.
Why? If the player inputs pitches prescribed in the work’s score, the modulator output takes each pitch and, say, subtracts the oscillator’s frequency from it. To sound the work properly through the modulator, the player must input a sequence of pitches unrelated harmonically to the work’s score but related mathematically; for example, by the subtraction function characteristic of a modulator which outputs difference tones. What the player actually sounds on the instrument to get some work as output is that work as scored plus the modulator’s oscillation frequency.