By Carl Magnus Palm
"This new version of the best-selling ABBA booklet has been up to date to incorporate info of Mamma Mia!'s awesome good fortune and the continuing lives of Björn Ulvaeus, Benny Andersson, Anni-Frid Lyngstad and Agnetha Fältskog, their track and their own lives. It has additionally been considerably revised throughout.
As generations of latest enthusiasts become aware of ABBA's undying song, Frida, Agnetha, Benny and Björn stay particularly shadowy, secretive figures. Their marriages, own break-ups and superficial biographical info are good known...but who precisely are ABBA?
How did Norwegian orphan Anni-Frid develop into a real-life princess?
How did folksy Benny and Björn develop into a global pop strength to rival Lennon & McCartney?
What occurred to blonde Agnetha who smiled much yet by no means particularly appeared happy?
And what percentage billions have Abba been provided to reform?
World well known ABBA specialist Carl Magnus Palm's acute realizing of the tradition of his local Sweden deals a different perception into the gang, and their occasionally darkish own stories.
Bright lighting fixtures darkish Shadows: the true tale of ABBA is the final word account of the increase and fall of a mythical staff and a biography of infrequent conception.
Read or Download Abba: Bright Lights Dark Shadows (updated edition) PDF
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Extra resources for Abba: Bright Lights Dark Shadows (updated edition)
Nevertheless, as a result of the importance of metronomic time to groove music, the ability for temporal accuracy – ‘tightness’ – is cultivated and prized as perhaps the primary skill. Tagg’s eighteenth-century evidence notwithstanding, what came to be a priority in nineteenth-century performance practice was intensity of expression, and the belief that isochronicity was detrimental to such expressivity. In the groove ensemble, timing and synchronisation errors are the flaws which require eradication above all others.
Units [beats] that have elapsed as long as the listener can retain an awareness of the hierarchic depth to which units are embedded. 64 61 62 63 64 See for instance, Lerdhal and Jackendoff 1983; Cooper and Meyer 1960. See Clarke 1987, p. 233. Van Der Merwe 1989, p. 271. Clarke 1987, p. 231. 44 chapter 1 The most fruitful way of conceiving meter in groove music, and possibly more generally too, is as a series of levels running from sub-beats through beats, bars, and phrases to larger-scale sections.
Lerdahl and Jackendoff argue that there is an upper limit to the effect of meter within the structural levels of music (Lerdhal and Jackendoff 1983, p. 21). Two points are relevant: (1) they consider only Western art music (Mozart’s fortieth Symphony is their example); (2) the large scale structures which they regard as non-metrical are in any case beyond the temporal scope of most pieces of groove music. Lerdahl and Jackendoff 1981, p. 485. What is ‘ groove ’ ? 49 4 Back-beat It is one of the more perplexing characteristics of the grooves of twentieth century popular music that they hinge upon back-beat, that is, an emphasis on the off-beats of the bar (beats two and four) and often the off-beats of other metrical levels as well.