Word: deal
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Dates: during 1950-1959
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GETTYSBURG, Pa., March 22--President Eisenhower and Britain's Prime Minister Harold Macmillan joined in prayers for world peace today while their top aides considered steps to deal with Russia's economic threat to the free world, and the Mid-East situation...
Solvency & Syllables. With stability finally assured, Hawaii's vigorous culture sank new roots. In the New Deal days came the rise of unionism and of Red-lining Harry Bridges, who won control of Hawaii's longshoremen, pineapple and sugar workers. Though Hawaiian labor made needed gains, Bridges' ironhanded control of the island economy posed a new threat; it lasts, somewhat diluted, even today, in an uneasy peace between the unions and industry...
Despite the advance beyond tonality in the early years of this century, the power of this great organizing force has been strong enough to dominate most of the production of Bartok, Stravinsky, and Hindemith. It dominates a good deal of the music being written today. The atonalists have not found it easy to resist. How can a piece of music be held together without the familiar tonal relationships? Some composers (Elliott Carter, for example) have attempted highly individual and cerebral ways of unifying a large work. Others have seen a revivifying solution in the twelve-tone system, from which...
...Webern's music must have seemed extraordinarily novel and refreshing to twelve-tone composers, while his concern for highly schematized structure seemed to be the necessary concomitant to an idiom so unlike Western music. The post-Webern school, as its name implies, has carried these methods a good deal further. There was ample evidence of the wide spectrum of this music at a concert held in Paine Hall on Mar. 5, devoted largely to the post-Webern representation at Harvard, which raised some hard questions about the aims and future of advanced music...
Serialists deal in extremes, and so, opposed to the pianissimos and silences of Wolff was a gusty piano piece by Frederick Rzewski, a remarkable fortissimo rush of runs, heavy chords and long trills in Rzewski's rather personal style. There is little nontechnical description one can give about such a work, except that it confirmed the impression of force and individuality made by Rzewski's earlier pieces last year. William Wilder's Duo for String Quartet, another example of minimal performance instructions did not quite come off, perhaps because the players did not take full advantage of the near-complete...