Word: criticizes
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Dates: during 1950-1959
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Down with Rapacki. From the floor of the Senate, Dulles got more praise than he has heard in months. New Hampshire's Republican Styles Bridges, bitter critic of Dulles on foreign aid, called him "the most principled and resolved statesman of the West." Montana Democrat Mike Mansfield, who needled Dulles unmercifully during last year's great debate on the Eisenhower Doctrine, now reminded the Kremlin that Dulles is "the Secretary of State of the United States of America." At his weekly press conference the President, questioned on Bulganin's crack about biased foreign ministers, got a laugh...
Perhaps reading too far, Torrilhon detects myxedema (underactive thyroid) in the swollen eyelids, sparse lashes, dry hair and "shivering, apathetic aspect" of the bride in the renowned canvas, The Peasant Wedding. (Critic Gilbert Highet saw the bride as "a healthy, blowsy heifer," whose smirk and downcast eyes hide unseemly thoughts: "I'm glad I'm getting married. I don't much like my husband, but he is rich.") In the five sightless beggars stumbling into a ditch in the famous Parable of the Blind, Torrilhon sees a whole ophthalmological catalogue. From left to right, he diagnoses pronounced...
Hans Keller is a London music critic whose aim is to stop most talk about music. This apparently self-destructive ambition is prompted by Keller's belief that emotions slip through the loom of language like herring through a cargo net. Keller's solution: analysis by music instead of by words. His criticism of Mozart's String Quartet in D Minor (K. 421) broadcast last week from Hamburg, convincingly demonstrated that a few snatches of music, pointedly juxtaposed, can make a sharper comment on a composition than a column of critical prose...
Aside from its tendency to jargon, the trouble with verbal music criticism, says Keller, is that it tends to describe musical forms but fails to penetrate beyond them to the "fundamental unity" at the heart of a composition. To lay music's "inner architecture" bare, the critic must abandon language ("The age of description is over") and so immerse himself in analysis of a work that he "lives with it and dreams about...
After several months, when he knows the music so well that he understands the composer's unconscious logic, the critic is ready to write an "analytical score" that isolates and interweaves the composition's various themes, phrases, harmonies and rhythms, thereby demonstrating how they relate to each other and to the central idea. The analytical score is played as a series of interludes after each movement; in the case of the Mozart Quartet, the original piece takes about 30 minutes, the interludes 17 minutes. Their effect is like looking at a painting, then watching a series of lantern...