Search Details

Word: horning (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

Commenting at the Chicago panel on statements from Yale and Princeton which asserted their no-expansion policies, Francis H. Horn, president of the Pratt Institute, said: "This is sheer nonsense unless you admit that Yale or Princeton already has a diluted form of education . . . I think they still have a highly selective group...

Author: NO WRITER ATTRIBUTED | Title: Educator Attacks Yale's Opposition To Increase in College Enrollment | 3/1/1955 | See Source »

...Horn also attacked as undemocratic the position of James B. Conant '14, President emeritus, on the selection of students for higher education. According to Horn, Conant once proposed that only about the top 25 percent in intellectual capacity be admitted to the traditional college...

Author: NO WRITER ATTRIBUTED | Title: Educator Attacks Yale's Opposition To Increase in College Enrollment | 3/1/1955 | See Source »

...soldering irons and spoke a strange jargon full of "cycles," "decibels," "curves," "roll-offs." Pre-hi-fi sets were unable to top the violin's range (about 8,000 cycles per second) and thus were "unfaithful" to all instruments but bass drum, timpani, bass tuba, piano, French horn and trombone (played softly without mutes). So the hi-fi fan went all out for high frequencies...

Author: /time Magazine | Title: Music: Hi-Fi Takes Over | 2/28/1955 | See Source »

...contract. To develop the northern claims, they set up Algom, of which Hirshhorn owns a million shares (36%), Preston East Dome 1,250,000 (45%), Hirshhorn's friends another 100,000. and the public only 400,000 shares. Last week, with Algom stock selling at around $16, Hirsh horn's direct and indirect holdings were worth about $20 million on paper...

Author: /time Magazine | Title: MINING: The New Uranium King | 2/21/1955 | See Source »

...concerto grosso, this work is in a sense the first real solo concerto for keyboard, owing to the general prominence and the extended cadenza allotted to it. McIntosh's runs were as even as pearls, and he exerted admirable dynamic restraint throughout (his versatility even extended to playing the horn in the other works). The initial orchestral tempo was sluggish, but McIntosh picked it up in his cadenza and Greenebaum kept it for the closing tutti. The slow movement, for the soloists only, should have had, to be authentic, a cello doubling the bottom line...

Author: By Caldwell Titcomb, | Title: Bach Society Orchestra | 2/15/1955 | See Source »

Previous | 522 | 523 | 524 | 525 | 526 | 527 | 528 | 529 | 530 | 531 | 532 | 533 | 534 | 535 | 536 | 537 | 538 | 539 | 540 | 541 | 542 | Next