Word: counterpointing
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...greatest liturgical composer who ever lived and one of the musical wonders of the ages was Giovanni Pierluigi da Palestrina, whose lacy counterpoint was the pride of the Vatican under Pope Sixtus V (1585-90). The best U.S. interpreter of Palestrina is an Irish-American named Father William J. Finn, former choirmaster of Manhattan's Church of St. Paul the Apostle, who has behind him nearly 50 years of high musical achievement...
...between idealists and realists, the arguments on U.S. foreign policy (which has recently been the subject of a critical drumfire) weave back & forth, sometimes creating horrendous dissonances, sometimes blending with skilled counterpoint. The idealistic "blueprint" mind is uppermost in Joseph M. Jones's A Modern Foreign Policy for the United States, which consists of three articles originally written for FORTUNE. Mellow realism takes control in Carl L. Becker's How New Will the Better World...
...went to Hollywood. Clayton went along as manager. Jackson joined another trio, but returned as one of Jimmy's backstage assistants. Jimmy's oldtime admirers hate to recall what happened to him in Hollywood. His more obvious buffoonery was played up, but the subtle, split-second comic counterpoint between Clayton, Jackson & Durante and their jazz band never penetrated Hollywood. In 1936 Jimmy gave himself a change by touring Europe. In Glasgow, his act so moved Sir Harry Lauder that the classic old Scottish comedian rose from his seat and joined Jimmy on the stage in spontaneous partnership...
...chamber music fit the parallel. Both Beethoven and Eliot are working with the most difficult and quintessential of all materials for art: the substance of mystical experience. Both, in the effort to translate it into art, have strained traditional forms and created new ones. Both use motif, refrain, counterpoint, contrasts both violent and subtle, the normal coinage of both arts, for purposes more profound and more intense than their normal coinage, for purposes more profound and more intense than their normal transactions...
With his accustomed showmanship, Stokowski glamorized the great sacred composition. He cut Bach's music to slightly over half its length, reorchestrated many passages of Bach counterpoint, peopled the Metropolitan Opera stage with a bevy of hooded mimes, who prowled about a collection of ramps and platforms like Ku Klux Klansmen at a Konklave. The Saviour was represented by a vertical shaft of light whose symbolic feet were symbolically dried by the hair of Maria Magdalena (Lillian Gish...