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In 1993 Eldorado, along with "Hymn" and "Evening Star", was adapted by Jonathan Adams as Three Songs from Edgar Allan Poe for SATB chorus and piano. [citation needed] The composer John Adams also composed an Eldorado symphony. [citation needed] In popular music, the poem was used in 1996 for the lyrics of a Donovan song on his album Sutras.
"Eldorado" is the title track from the 1974 album of the same name by the Electric Light Orchestra (ELO). The song was used as the B-side of the United States single " Boy Blue " in 1975 and later as the flip side to the UK hit single " Wild West Hero " in 1978.
For example, Berklee Music Theory - Book 2 recommends the following accompaniment for a given lead sheet, [2] while this progression does not occur in common practice theory since all the chords are seventh chords and unprepared dissonant. Accompaniment acceptable in the Berklee method [2] but not in common practice theory. Play ⓘ
Eldorado is the first complete ELO concept album; bandleader Jeff Lynne conceived the storyline before he wrote any music. [2] The plot follows a Walter Mitty-like character who journeys into fantasy worlds via dreams, to escape the disillusionment of his mundane reality. Lynne began to write the album in response to criticisms from his father ...
The concept album Eldorado (1974) saw the first time that an orchestra was used, where previously Lynne would overdub strings. [5] The presence of an orchestra would be a common part of future ELO albums. [5] The 1975 album Face the Music moved away from symphonic concept elements of Eldorado in favor of more radio friendly songs. [6]
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
Leonard B. Meyer, in Emotion and Meaning in Music (1956), [1] distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same ...
Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it.