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Word: aural (lookup in dictionary) (lookup stats)
Dates: during 2000-2009
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Usage:

...unfair for a band like Oasis whose self-admitted mission is to reinvent a genre for the modern era (and I mean era) to occasionally use a subject which was absolutely fundamental to that original genre’s ethos, and which determined a lot of the aural vocabulary still in play today...

Author: By Drew C. Ashwood and Christopher A. Kukstis, CRIMSON STAFF WRITERS | Title: The Drawn-Out Battle of the '90s Brit-Pop Superstars | 3/18/2005 | See Source »

...nothing stop you on this journey through aural paradise. Snobbery is in the ear of the beholder...

Author: By Abe J. Riesman, CRIMSON STAFF WRITER | Title: The Indie Rock Triathlon of Awesome | 3/18/2005 | See Source »

...behind it (8 Mile, or the ultimate music-leeching movie Moulin Rouge!). Similarly, there are clear cases where the use of pre-recorded music serves either as a juxtaposition to the action (“What a Difference Today Makes” in Lola Rennt), or where aural-collage becomes the goal (anything Tarantino), and pre-released music then becomes a very deliberate choice that can be measured as harshly as cinematography or art direction...

Author: By Drew C. Ashwood and Chris A. Kukstis, CRIMSON STAFF WRITER AND COLUMNISTS | Title: "Listen, It'll Change Your Life" | 3/3/2005 | See Source »

Hearing chamber music is the aural equivalent of a theatrical experience. Without a conductor, the players assume independent roles, taking turns delivering their “lines” as solos. Take, for example, Franz Schubert’s “Death and the Maiden” string quartet, a passionate work that features the cello as a tragic heroine. Without the utterance of a single word, the instruments engage in heated arguments or profess their lyrical love for one another...

Author: By Madeleine J. Baverstam and Jennifer D. Chang, CONTRIBUTING WRITERSS | Title: Classical Music for Dummies: Harvard Style | 2/24/2005 | See Source »

...quite freaky enough for “freak-folk.” For all his weirdness, Droste's instincts as a songwriter are a little too pop for the self-consciously offbeat genre/catchphrase every critic seemed to swoon over this past year. Just when Grizzly Bear’s aural molasses threatens to overwhelm, an endearingly lively instrumental break or jaunty Britpop bassline interrupts their hibernation dreams. “Fix It,” in particular, flirts with major keys at a non-somnolent pace, suggesting what these guys could do with a real studio budget...

Author: By Simon W. Vozick-levinson, CRIMSON STAFF WRITER | Title: Grizzly Bear Feeds on Psych-Folk | 2/11/2005 | See Source »

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