Word: ear
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Dates: during 1960-1969
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...movie, despite the color, despite the 27-foot screen that now wraps Miss Christie around you, ear to ear, the same production team has again turned out a film conspicuous for its economy of movement and quick cuts. The punches are missing; instead an England that existed 100 years ago is visually celebrated in sharp, brilliant color and a few long, sumptuous pans...
STEPHEN D. is Irish Playwright Hugh Leonard's attempt to dramatize James Joyce's autobiographical tale of Stephen Dedalus. While the richly lyrical Joycean prose pleases the ear, the play is a series of vignettes that fails to bring to life the Artist as a Young Man who vows to "forge the conscience of my race" in "silence, exile and cunning." While Stephen Joyce (no kin) gives a competent performance as the writer-hero, Stephen remains dead, alas...
...young technique produced tiny Miss Kasuya-one of a group of Suzuki prodigies now touring the U.S.-and her note-perfect Mozart. Suzuki's Talent Education Institute, founded in 1946, takes in pupils at the age of three, subjects them first to an intensive course in ear training, technique and performance by rote from recordings, and later to such refinements as note reading. While the course is designed only for a musician's formative years, at least 100 of Japan's professional violinists have come out of the Suzuki school. So successful is his method that...
...Candy Bars. Western music was introduced into Japan before the turn of the century, but its tonalities and forms were so alien to the whining microtones of Oriental music that it found only a small following. By the 1930s, German music teachers had settled in Japan and introduced their ear-training methods into school music programs. The Japanese, in turn, brought the Western techniques to Korea during their prewar occupation. After World War II, the presence of Americans in Japan and Korea stimulated even more interest in the Western repertory...
...sense of purpose and style, a firm guiding intelligence and a zestfulness of spirit. Currently making its first Western Hemisphere appearance with a Canadian tour, the troupe presents three classics from two centuries: Strindberg's Dance of Death and Georges Feydeau's A Flea in Her Ear (early 20th) and Congreve's Love for Love (late 17th). No American resident company could have done these plays with equal distinction; many repertory groups could not begin to do them...