Word: atonalist
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...scuttled about trying to get work (his evil city Mahagonny, a net for pleasure lovers, gives Friedrich his title). Igor Stravinsky, Friedrich relates, tried to write movie music but never succeeded. When Producer Irving Thalberg offered $25,000 for a score for The Good Earth, the distinguished and threadbare atonalist Arnold Schoenberg demanded $50,000 and the right to direct the actors, who, he felt, should chant their lines...
...Kirk, 41, blind jazz musician famed for his ability to play three instruments simultaneously; of as yet undetermined causes; in Bloomington, Ind. Kirk played the manzello (a quasi-saxophone), the stritch (a horn resembling a dented blunderbuss) and the tenor sax together, combining themes of Brazilian Composer Villa-Lobos, Atonalist Arnold Schonberg and Bassist Charlie Mingus...
...German Atonalist Zillig wrote his opera The Sacrifice in 1937, but the work had only three performances until its present revival at West Germany's Kassel Opera House. Based on a play by the late expressionist writer Reinhard Goering,* Sacrifice tells the story of Robert Scott's last, tragic expedition to the South Pole in 1912. Its legendary hero is Lawrence Gates, who suffered frostbite and, realizing that he was jeopardizing the chances of the other members of the expedition, marched off into a blizzard in a suicidal sacrifice. In Zillig's treatment, the penguins enter...
Twitters from a Satellite. The bulk of Composer Riegger's work is atonal-in fact, he was an atonalist back in the days before the tone row had replaced the velvet neckcloth as a musical status symbol. But in contrast to the cool, desiccated manner of European twelve-tone composers of the Schoenberg-Webern school, Riegger turned out propulsive, ruggedly rhythmic compositions full of jangling dissonances and roughhewn contrasts. The effect was sometimes as startling as an impressionist-styled canvas executed with a house painter's brush...
...limited, key-oriented diatonic scale). But Stravinsky has added some of his own style to the serial method. In his book, Conversations with Igor Stravinsky (Doubleday; $4), Conductor Robert Craft sketched visual projections of musical styles from the simplicity of plain chant via the sound spirals of Atonalist Anton Webern to the newer serialists. Then Stravinsky added his own sketch of his own recent music (see cut). The knobs in the sketch stand for notes, suggest that Stravinsky wants all notes to be heard and considers them more important than do other serial composers, who care more about dynamics...