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Word: counterpoints (lookup in dictionary) (lookup stats)
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Merritt, who is at present spending a year of research in Europe, served as chairman of the Music Department from 1942 to 1952. An authority on music of the sixteenth century, he is the author of "Sixteenth Century Counterpoint...

Author: NO WRITER ATTRIBUTED | Title: Corporation Names Merritt To Hold New Chair in Music | 5/12/1953 | See Source »

...music history. Of the six courses required for concentrators, the four in theory must still be taken by all. But concentrators can choose two in music history from a group of several. The theory courses cover a year of orchestration, two years of harmony, and a year of counterpoint...

Author: NO WRITER ATTRIBUTED | Title: History & Literature to Social Relations | 4/23/1953 | See Source »

Schoenberg: Piano Concerto (Claude Helffer; Paris' Orchestre Radio-Symphonique conducted by René Leibowitz; Period). A decade old, this piece is one of Schoenberg's definitive twelve-tone works. For all its hyper-complex rhythms and counterpoint, it has a richly romantic expression, and its solo part is a dazzling piece of virtuosity...

Author: /time Magazine | Title: Music: New Records, Apr. 13, 1953 | 4/13/1953 | See Source »

...chorus varied in function and effectiveness. Sometimes commenting on the action, sometimes becoming a part of the action, it resembled the chorus of a Greek tragedy. Berlioz was no genius at writing choral music. His counterpoint is at times turgid, his sonorities monotonous. Nevertheless, there are passages in the final scene where the words and music combine in mutual enhancement, and even steal the show from the orchestra. The Harvard and Radcliffe choral groups, trained by G. Walace Woodworth, were no better than usual, but they really couldn't be. That they were able to successfully project the rather unrewarding...

Author: By Lawrence R. Casier, | Title: Romeo and Juliet | 2/25/1953 | See Source »

...jazz field: his quartet uses neither piano nor guitar, does its work with trumpet, bass, drums and, of course, Mulligan's hoarse-voiced baritone sax. In comparison with the frantic extremes of bop, his jazz is rich and even orderly, is marked by an almost Bach-like counterpoint. As in Bach, each Mulligan man is busily looking for a pause, a hole in the music which he can fill with an answering phrase. Sometimes the polyphony is reminiscent of tailgate blues, sometimes it comes tumbling with bell-over-mouthpiece impromptu...

Author: /time Magazine | Title: Music: Counterpoint Jazz | 2/2/1953 | See Source »

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