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Journal articles on the topic 'Beatles (Beatles)'

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Published: 29 July 2024
Last updated: 30 July 2024

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1

Fisher, Michael R. "The Beatles." Rock Music Studies 7, no. 3 (June 21, 2020): 272–74. http://dx.doi.org/10.1080/19401159.2020.1782690.

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2

Penman, Ian. "DIE BEATLES." POP 12, no. 1 (April 1, 2023): 129–47. http://dx.doi.org/10.14361/pop-2023-120120.

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3

Heyman, Matthias. "Recreating the Beatles." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 77–98. http://dx.doi.org/10.1525/jpms.2021.33.2.77.

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Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular type. Because of their focus on replicating the band’s iconic costumes and hairdo, they usually limit themselves to an easily reproducible core repertoire, forgoing the elaborate post-1966 studio productions. By contrast, sound-alikes strive for complete aural accurateness, often recreating the heavily produced compositions the Beatles never performed outside of the studio. One of the industry’s top-tier Beatles sound-alikes are the Analogues. Neglecting all mimetic visual effects, they re-animate the albums created after 1966, using the same orchestrations and instrumentations as the Beatles, including rare vintage instruments such as the Mellotron. Their approach bears parallels to historically informed performance (HIP), a common practice in Early Music, yet it operates within an entirely different framework. Informed by sound recordings, the Analogues deconstruct and re-record the Beatles’ music to construct their own performance, in the process conceiving a modern technology-based type of HIP. This article begins by establishing a typology of Beatles tributes before examining the process of staging an Analogues performance. It argues that the Analogues’ approach to historical recreation allows them to transcend criticism typically aimed at tributes and, paradoxically, lay claim to an “authentic” performance of what is inherently inauthentic, a live imitation of a recording. Overall, this article demonstrates how HIP can be used effectively outside of its mainstream classical context as a tool for popular music researchers and performers.
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4

Metras, Gary, and Jim O'Donnell. "The Beatles Begin." English Journal 86, no. 7 (November 1997): 128. http://dx.doi.org/10.2307/819880.

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5

Collins, Marcus. "The Beatles' Politics." British Journal of Politics and International Relations 16, no. 2 (September 18, 2012): 291–309. http://dx.doi.org/10.1111/j.1467-856x.2012.00545.x.

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6

Dancis, Bruce. "Beatles vs. Stones." Sixties 7, no. 2 (July 3, 2014): 186–89. http://dx.doi.org/10.1080/17541328.2015.1014166.

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7

Savoye, Daniel Ferreras. "On Beatles Time." Popular Culture Review 27, no. 1 (June 2016): 68–77. http://dx.doi.org/10.1002/j.2831-865x.2016.tb00293.x.

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8

Hunter, David, and Mark Lewisohn. "The Beatles: Recording Sessions." Notes 46, no. 3 (March 1990): 641. http://dx.doi.org/10.2307/941438.

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9

Campbell, Kenneth L. "The Beatles at Woodstock." Popular Music and Society 43, no. 2 (November 11, 2019): 188–200. http://dx.doi.org/10.1080/03007766.2019.1687673.

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10

Morris, Michael. "More Than the Beatles." American Journal of Evaluation 36, no. 1 (November 14, 2014): 99–107. http://dx.doi.org/10.1177/1098214014557808.

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11

Womack, Kenneth. "Authorship and the Beatles." College Literature 34, no. 3 (2007): 161–82. http://dx.doi.org/10.1353/lit.2007.0039.

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12

Denave, Laurent. "Ian Inglis, The Beatles." Volume !, no. 14 : 2 (April 26, 2018): 267–69. http://dx.doi.org/10.4000/volume.5646.

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13

Banerjee, Mita. "BOLLYWOOD MEETS THE BEATLES." South Asian Popular Culture 4, no. 1 (April 2006): 19–34. http://dx.doi.org/10.1080/14746680600555618.

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14

Wilson, Andrew. "Thinking with the Beatles." Journal of Beatles Studies 2024, Spring (May 2024): 113–25. http://dx.doi.org/10.3828/jbs.2024.7.

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15

Misheva, Vessela. "The Beatles, the Beatles Generation, and the End of the Cold War." Public Voices 9, no. 1 (January 5, 2017): 13. http://dx.doi.org/10.22140/pv.201.

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An effort to rationalize history brought the Western world to perceive the “velvet,”“bloodless” revolutions that swept Eastern Europe as arising from the fact that people there had become painfully aware of the conditions in which they lived and the shortcomings of the system they had built. The author of this article argues instead that it was those young East Europeans who early in childhood failed to fall in love with the social system in large numbers who, when they finally came of age, put an end to the Cold War, and not because they were dissatisfied with the economic conditions, but because they wanted to put an end to the world’s East-West division. But how could people with “different” minds grow up inside the communist system, and how could they miss going through the standard process of communist socialization? To answer these questions, the author explores the hypothesis that Beatlemania, along with The Beatles themselves, may have contributed in a significant way to the collapse of the communist regimes in Eastern Europe.
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16

Cooper, B. Lee. "Love Me Do: 50 Songs that Shaped the Beatles/Beatles Beginnings, Vol. 3: Silver Beatles/The Hamburg List: Original Versions of the Beatles' Star Club Set/Beatles Beginnings, Vol. 2: Quarrymen Two: Rock ‘N’ Roll/Beatles Beginnings, Vol. 1: Quarrymen One: Skiffle-Country-Western." Popular Music and Society 36, no. 4 (October 2013): 550–54. http://dx.doi.org/10.1080/03007766.2012.758889.

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17

Howard, Dori. "Learning and teaching the Beatles." Journal of Beatles Studies: Volume 2022, Issue Autumn 2022, Autumn (September 1, 2022): 11–38. http://dx.doi.org/10.3828/jbs.2022.3.

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This article considers Liverpool Hope University’s Master of Arts degree in The Beatles, Popular Music and Society — which was the world’s first academic degree specifically related to the study of the Beatles — through reflective investigation into its structure, pedagogy and foundation in popular music studies. Using the writer’s own experiences as a both a graduate of and lecturer for the programme, the article considers the validity of academic study of the Beatles, the appropriateness of the MA’s approaches to this study and the usefulness of these for current and future Beatles scholarship. This article was published open access under a CC BY licence: https://creativecommons.org/licences/by/4.0.
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18

Rohr, Nicolette. "What Goes On: The Beatles, their Music and their Time. By Walter Everett and Tim Riley." Music and Letters 102, no. 1 (February 1, 2021): 176–79. http://dx.doi.org/10.1093/ml/gcab005.

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Abstract ‘[T]he afterlife of the Beatles’, Adam Gopnik wrote in The New Yorker in 1995, ‘shows how it was that people came to write the Gospels: Don’t tell me what it means, just tell me again what happened.’ Although Gopnik’s review introduced one of the early and important examples of Beatles scholarship, Ian MacDonald’s Revolution in the Head: The Beatles’ Records and the Sixties, his observation remains relevant twenty-five years later, as the outpouring of Beatles chronologies, collections, and recollections continues. These popular volumes often retell familiar stories, deservedly celebrating The Beatles but struggling, or declining, to explain, really, why and how they mattered and matter still. The subsequent waves of the band’s popularity have secured their unparalleled status, but the vast particulars of their place in history remain understudied. It’s a tall task, to be sure, but an important one, nearly sixty years after the first writers introduced a growing public to The Beatles.
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19

Jones, Steve, and Walter Podrazik. "Streaming through a glass onion." Journal of Beatles Studies: Volume 2022, Issue Autumn 2022, Autumn (September 1, 2022): 67–96. http://dx.doi.org/10.3828/jbs.2022.5.

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This article contextualizes the Beatles’ efforts to maintain a consistent chronological narrative of their career, art and achievements in light of commercial and technological advancements in popular music since the 1960s. It examines the tensions between art, authenticity, commerce and chronology to ascertain the contours of fandom, mythmaking and industry that have lent the Beatles the ability to preserve their legacy on their terms. It argues that the Beatles’ repeated and consistent efforts to chronologically affirm and fix their narrative allows fans to enter the Beatles’ story from multiple points in time and to create their own stories within that chronology, thereby allowing the Beatles to continue to serve as musical and cultural symbols across generations. This article was published open access under a CC BY licence: https://creativecommons.org/licences/by/4.0.
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20

Lydon, Michael. "How the Beatles Got to Me and How I Got to the Beatles." Rock Music Studies 1, no. 3 (July 29, 2014): 287–94. http://dx.doi.org/10.1080/19401159.2014.939455.

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21

Priyoto, Priyoto, and Panji Armando. "THE COMMON USED OF FIGURATIVE LANGUAGES IN BEATLES’ MASTERPIECES." Journal of English Language and Literature (JELL) 3, no. 02 (August 28, 2018): 35–53. http://dx.doi.org/10.37110/jell.v3i02.50.

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This research is attempt to study about the common used of figurative languages in Beatles masterpieces. This research has three objectives: (1) to find out figurative languages in Beatles’ Masterpieces especially “A Day In The Life” and “A Hard Days Night” song, (2) to know what is the literal meaning in Beatles’ masterpieces especially “A Day In The Life” and “A Hard Days Night” song, (3) to know the moral values in Beatles’ masterpieces especially “A Day In The Life” and “A Hard Days Night” song . This research uses a descriptive qualitative method. The technique of data analysis is categorizing, sorting, coding, interpreting, drawing a conclusion, and representing the findings. The result of this research shows that The Beatles is common used hyperbole and pleonasm in both song lyrics. Based on the analysis, the writer hopes that this research can provide knowledge about figurative language that the readers can take positive things especially in works of art.
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22

LEBOVIC, SAM. "“Here, There and Everywhere”: The Beatles, America, and Cultural Globalization, 1964–1968." Journal of American Studies 51, no. 1 (January 11, 2016): 43–65. http://dx.doi.org/10.1017/s0021875815002686.

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This article explores the Beatles’ invasion of America as a moment of cultural globalization. Paying attention to the political economy underpinning the Beatles’ success, the international hybridity at the heart of their cultural work, and the diverse ways in which Americans interpreted the Beatles, the article argues that the band was a primary vector of pop culture's increasing globality in the 1960s. More broadly, the article argues that the Beatles’ trajectory reveals that cultural globalization cannot be understood as a process either of homogenization or of creolization. Rather, the Beatles represented an increasingly unified and commodified culture that simultaneously served to reproduce cultural differences when different social formations projected their own meanings onto the hybridized group. The article therefore provides new perspectives on the historical significance of the iconic band and on the intersections between global and domestic cultural history in the 1960s, as well as suggesting a new framework for thinking about both the history and the contradictions of cultural globalization.
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23

Sunstein, Cass R. "Beatlemania." Journal of Beatles Studies: Volume 2022, Issue Autumn 2022, Autumn (September 1, 2022): 97–120. http://dx.doi.org/10.3828/jbs.2022.6.

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Why did the Beatles become a worldwide sensation? Why do some cultural products succeed, and others fail? On one view, the simplest and most general explanation is best, and it points to quality, appropriately measured: the Beatles succeeded because of the sheer quality of their music. On another view, timely enthusiasm or timely indifference can make the difference for all, including the Beatles, and informational cascades are often necessary for spectacular success. For those who emphasize informational cascades, success and failure are not inevitable; they depend on seemingly small or serendipitous factors. There is no question that the success of the Beatles, and the rise of Beatlemania, involved an informational cascade. We may doubt that in a counterfactual world there might have been Kinksmania or Holliesmania, but it would be reckless to rule out the possibility that some other band, obscure or unknown, might have taken the place of the Beatles. This article was published open access under a CC BY licence: https://creativecommons.org/licences/by/4.0.
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24

North, Adrian C., and Amanda E. Krause. "Are The Beatles Different? A Computerized Psychological Analysis of Their Music." Empirical Musicology Review 18, no. 2 (June 7, 2024): 133–47. http://dx.doi.org/10.18061/emr.v18i2.9178.

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There has been little quantitative research by psychologists concerning the music of The Beatles. The present research compared their music against a database of 169,909 songs for which data was obtained via the Spotify application programming interface concerning acousticness, danceability, duration, energy, key, loudness, mode, popularity, tempo, and valence. The Beatles' music differed from the overall dataset by being more positively-valenced, more energetic, faster, louder, less acoustic, and shorter; and differed from their 1960s contemporaries by being more danceable, energetic, faster, louder, less acoustic, and shorter. Of these, only the loudness and valence of The Beatles' music was related positively to its popularity. The Beatles were able to avoid the overall trend for distinctive music to be less commercially successful, suggesting that they were able to innovate without sacrificing popularity. However, on further analysis, The Beatles' music was no more innovative (defined in terms of musical differences from other music) than that of their contemporaries for each year of the 1960s except 1969. The ongoing public acclaim of The Beatles can therefore be attributed to their music being louder and more emotionally positive, being no more musically-innovative than their peers, but when they did innovate, being relatively successful compared to their peers.
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25

Heilbronner, Oded. "The Peculiarities of the Beatles." Cultural and Social History 5, no. 1 (March 2008): 99–115. http://dx.doi.org/10.2752/147800408x267274.

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26

Ignácz, Ádám. "Beatles-feldolgozások az államszocialista Magyarországon." Közösségi Kapcsolódások - tanulmányok kultúráról és oktatásról 1, no. 1-2 (November 29, 2021): 192–201. http://dx.doi.org/10.14232/kapocs.2021.1-2.192-201.

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Ebben a tanulmányban a Beatles együttes dalainak 1960-as és 1980-as évek között készült magyarországi feldolgozásait elemzem. Mindezt egy olyan populáriszene-történet kidolgozásának reményében teszem, amely nem műfajok és generációk egymásutánjára épül – ahogy azt általában a rockzene trendformáló hatását kihangsúlyozó munkák teszik –, hanem éppenséggel a párhuzamos hagyományokra, a különböző generációk együttélésére, illetve az egyes műfajokon és stílusokon belül megfigyelhető különbségekre koncentrál. A Bealtes-feldolgozások azt segíthetnek megmutatni, hogy miként találkoztak egymással a globális zenei trendek és a zenés szórakozás lokális hagyományai az államszocialista Magyarország populáris zenei életében.
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27

Maruani, Guy. "Les Beatles et la mondialisation." Hermès 86, no. 1 (2020): 101. http://dx.doi.org/10.3917/herm.086.0101.

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28

Paul, Nora. "SUPER MARIO VS. THE BEATLES." Online and CD-Rom Review 17, no. 5 (May 1993): 302–5. http://dx.doi.org/10.1108/eb024460.

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29

Weiss, Steve. "The Beatles: The Biography (review)." Notes 63, no. 2 (2006): 382–83. http://dx.doi.org/10.1353/not.2006.0168.

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30

Koyama, Tatsuki. "Length of The Beatles' Songs." CHANCE 25, no. 1 (February 29, 2012): 30–33. http://dx.doi.org/10.1080/09332480.2012.668464.

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31

Clydesdale, Greg. "Creativity and Competition: The Beatles." Creativity Research Journal 18, no. 2 (April 2006): 129–39. http://dx.doi.org/10.1207/s15326934crj1802_1.

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32

Koyama, Tatsuki. "Length of the Beatles' Songs." CHANCE 32, no. 1 (January 2, 2019): 14–17. http://dx.doi.org/10.1080/09332480.2019.1579574.

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33

Ferrando, J., and A. Guilabert. "Get Back. Los Beatles dermatólogos." Actas Dermo-Sifiliográficas 98, no. 4 (May 2007): 283–85. http://dx.doi.org/10.1016/s0001-7310(07)70066-2.

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34

Ferrando, J., and A. Guilabert. "Get Back. Los Beatles dermatólogos." Actas Dermo-Sifiliográficas (English Edition) 98, no. 4 (2007): 283–85. http://dx.doi.org/10.1016/s1578-2190(07)70446-8.

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35

Julien, Olivier. "50 ans de Beatles studies." Volume !, no. 12 : 2 (March 22, 2016): 15–42. http://dx.doi.org/10.4000/volume.4778.

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36

Lemonnier, Bertrand. "Les Beatles, un « objet d’Histoire »." Volume !, no. 12 : 2 (March 22, 2016): 45–53. http://dx.doi.org/10.4000/volume.4832.

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37

Jones, Matthew, Francis Knights, Pablo Padilla, and Mateo Rodríguez. "Analysis, attribution and the Beatles." Journal of Beatles Studies 2023, Spring/Autumn (September 9, 2023): 91–107. http://dx.doi.org/10.3828/jbs.2023.6.

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38

Burns, Gary. "The Myth of the Beatles." South Atlantic Quarterly 86, no. 2 (April 1, 1987): 169–80. http://dx.doi.org/10.1215/00382876-86-2-169.

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39

Roberts, Michael. "A working-class hero is something to be: the American Musicians’ Union's attempt to ban the Beatles, 1964." Popular Music 29, no. 1 (January 2010): 1–16. http://dx.doi.org/10.1017/s0261143009990353.

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AbstractThis article examines the historical and cultural significance of the attempted ban on the Beatles’ concerts in the US by the American Federation of Musicians and the Immigration and Naturalization Service of the United States government in 1964. While there has been much attention given to the court case against John Lennon waged by the INS and the Nixon Administration in the early 1970s, much less is known about the earlier case brought against the Beatles by the INS and the Department of Labor on behalf of the AFM, which became a national scandal in 1964, pitting fans of the Beatles against the AFM and the INS. Fans framed the controversy over the Beatles as a cultural conflict between generations, while the AFM framed the problem as a labour market issue. My examination of the incident reveals the way in which a submerged cultural problem embedded in a putatively economic discourse rose to the surface through conflicts over the discursive framing of the Beatles controversy. This case is important not only in terms of expanding our empirical knowledge of the internal history of the Beatles and rock and roll music, but also more generally as an episode that foreshadowed the cultural conflict between the American labour union bureaucracy and the counter-culture that emerged in the late 1960s. This essay analyses heretofore-unexamined documents from the US National Archives and Records Administration.
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40

Condit-Schultz, Nathaniel. "Are The Beatles Really Different? Commentary on North and Krause (2023)." Empirical Musicology Review 18, no. 2 (June 7, 2024): 161–74. http://dx.doi.org/10.18061/emr.v18i2.9784.

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This article is a commentary on "Are The Beatles Different? A Computerized Psychological Analysis of Their Music," by North and Krause (2023), in which they analyze features extracted from the Spotify API and ultimately claim that The Beatles' music is statistically "innovative" compared to other music. In this commentary, I explore potential methodological issues with some of their analyses. Chiefly, I show that applying their analysis to other artists results in similar results in most cases. I conclude that The Beatles' innovativeness, whether real or imaginary, cannot be statistically determined from Spotify's acoustically derived features.
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41

Nunes, Roseli Coutinho dos Santos, and Valério José Arantes. "Influência de Marx nas músicas de John Lennon." Revista HISTEDBR On-line 14, no. 57 (November 29, 2014): 378. http://dx.doi.org/10.20396/rho.v14i57.8640422.

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Apresenta a influência do filósofo Karl Marx nas músicas abertamente políticas Revolution (1968), Working Class Hero (1970) e Power to the People (1971), cuja principal força criativa na composição e gravação foi John Lennon, o beatle mais envolvido com a teoria marxista. Apresenta a influência do modo de pensar marxista nos muitos trabalhos dos Beatles: mudar o modo que as pessoas pensam acerca do mundo para criar um mundo melhor e mais justo e, nas últimas obras, atrair a atenção para a desigualdade entre as classes sociais.
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42

Ruiz Mas, José. "The Beatles in Spain: The Contribution of Beat Music and Ye-yés to the (Subtle) Musical, Cultural and Political Openness of General Franco’s Regime in the 1960s." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 111. http://dx.doi.org/10.14198/raei.2022.36.06.

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From the late 1950s and throughout the 1960s, the impact of American twist and rock’n’roll and British beat music, the Eurovision Song Contest, the considerable growth of the national record industry, the number of radio stations and the (still timid) deployment of nationwide TV gave rise in Spain to the development of the ye-yé fashion amongst the young Spanish population. This was accompanied by the development of a mild feeling of rebellion and critical spirit against the traditional conservative/Catholic status quo and the conventional mores of the previous generation. Indeed, from 1964-65 onwards dozens of Beatle-like bands imitated the Beatles’ rhythms, language, image, poses, fashion and song lyrics. The two live performances of the Beatles in Madrid and Barcelona in 1965 disseminated their popularity even further in Franco’s Spain. English became the lingua franca of modernity, of international tourism and of the new musical genres. In this Anglophile context, Beatlemania was to exert a relatively gentle influence on the social and political Spanish scenario of the decade and contributed to preparing the path to the country’s democratization in the late 1970s.
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43

Gimbel, Steven, and Thomas Wilk. "“I Said Something Wrong”: Transworld Obligation in Yesterday." Film-Philosophy 25, no. 2 (June 2021): 151–64. http://dx.doi.org/10.3366/film.2021.0166.

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Danny Boyle's film Yesterday (2019) is a contemporary morality play in which the main character, Jack Malik, a failing singer-songwriter, is magically sent to a different possible world in which the Beatles never existed. Possessing his memory of the Beatles’ catalogue in the new possible world, he is now in sole possession of an extremely valuable artifact. Recording and performing the songs of the Beatles and passing them off as his own, he becomes rich, famous, and deeply unhappy. Once he confesses his wrong-doing, however, he is redeemed and his life becomes wonderful. The presupposition that underlays the plot is that in claiming authorship of the songs of the Beatles in a world in which the Beatles never existed, he is acting immorally. But on what theoretical grounds can this intuitive judgment be justified? Can one plagiarize work for which there is no author in one's world? Saul Kripke, in Naming and Necessity, dubs terms that refer in all possible worlds to be “rigid designators” and considers the metaphysics necessary to support them. In this case, it is not reference but moral responsibility that is invariant under changes of possible world and so we must ask a similar question for “rigid obligators.” We argue that a virtue ethics approach is the only way to support the foundational moral intuition.
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44

LETTS, MARIANNE TATOM. "Sky of blue, sea of green: a semiotic reading of the film Yellow Submarine." Popular Music 27, no. 1 (December 13, 2007): 1–14. http://dx.doi.org/10.1017/s026114300800144x.

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AbstractThe Beatles’ film Yellow Submarine (1968) reflects conflicts between conventional society, represented by classical music, and rebellious youth culture, represented by other musical types, such as folk and pop (subsumed under the term ‘vernacular’). Taking their inspiration from the song ‘Yellow Submarine’ (Revolver, 1966), the filmmakers created a narrative for a psychedelic ‘hero’s journey’ from existing Beatles songs. This article discusses how the musical codes that symbolise different groups are used to mediate between divergent elements in both the film and contemporary society, by referring to such elements beyond the film as the Beatles’ comprehensive body of songs (which in itself forms a kind of mythology) and cultural events of the time. In Yellow Submarine, the Blue Meanies imprison Pepperland by immobilising all producers of music, whether ‘classical’ (the string quartet led by the elderly Lord Mayor) or ‘vernacular’ (Sgt. Pepper’s Lonely Hearts Club Band). The Beatles are able to free Pepperland by manipulating and ultimately uniting the musical codes – an idealistic message for the ‘real world’ to heed.
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45

Kinsella, Clare, and Eleanor Peters. "‘There are places I remember’." Journal of Beatles Studies: Volume 2022, Issue Autumn 2022, Autumn (September 1, 2022): 39–65. http://dx.doi.org/10.3828/jbs.2022.4.

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This article explores the relationship between music, memory and place, with specific reference to the centrality of the music of the Beatles, collective and individual, to the heritage industry in their birthplace, Liverpool. Since its emergence during the early 1980s, the cultural heritage sector in Liverpool has arguably relied heavily on its claim as the cradle of the genius of the Beatles, and it is thought in some quarters that more could be done to exploit this lucrative link. However, it is suggested here that causal links between the city of Liverpool and the inception and development of the Beatles are limited and tenuous, and, therefore, the (over-)reliance on the band by cultural regeneration professionals is based on a false claim. Further, it is argued that the Beatles story, as told and retold in this urban regeneration context, is a partial one which prioritizes some elements over others, mirroring the broader story of Liverpool as a heritage site. This article was published open access under a CC BY licence: https://creativecommons.org/licences/by/4.0.
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46

Seguí, Montiel, and Marta Vela. "The Beatles: tradición, vanguardia… y expresividad." Revista humanidades 10, no. 1 (November 13, 2019): e39660. http://dx.doi.org/10.15517/h.v10i1.39660.

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La música de The Beatles, tras su enorme éxito a través del tiempo, esconde diversos secretos que hunden sus raíces no solo en las tendencias coetáneas más evidentes –Pop Art, hippismo, cómic–, sino también en otras mucho más alejadas y sorprendentes que se refieren al manejo de las emociones, desde diversas herramientas armónicas procedentes de la música académica con la manifiesta influencia de las artes visuales, la pintura, la fotografía o la iconología sobre los álbumes del grupo. La continua búsqueda expresiva en The Beatles convirtió la música de la banda de Liverpool en una síntesis perfecta entre vanguardia y tradición a causa de la convergencia entre texto y sonido y, sobre todo, gracias al aprovechamiento de recursos tradicionales como el uso del cromatismo y de la dominante secundaria.
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47

Hamelman, Steve. "The Beatles Encyclopedia: Everything Fab Four." Popular Music and Society 39, no. 5 (October 14, 2015): 579–81. http://dx.doi.org/10.1080/03007766.2015.1094921.

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48

Littlejohn, John. "Experiencing the Beatles: A Listener’s Companion." Popular Music and Society 41, no. 3 (May 18, 2018): 345–46. http://dx.doi.org/10.1080/03007766.2018.1464783.

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49

Feldman-Barrett, Christine. "From Beatles Fans to Beat Groups." Feminist Media Studies 14, no. 6 (December 19, 2013): 1041–55. http://dx.doi.org/10.1080/14680777.2013.866972.

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50

Plotke, Olaf. "Wie Friedrich Nietzsche die Beatles trennte." Nietzscheforschung 25, no. 1 (September 1, 2018): 449–52. http://dx.doi.org/10.1515/nifo-2018-0033.

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