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Taylor spoke of his career and his experiences in the music industry. He treated the enthusiastic crowd to a few selections on the guitar and fingered the keyboard of a nearby piano several times during his talk...

Author: By Marco L. Quazzo, | Title: Livingston Taylor | 11/14/1980 | See Source »

...horrors memorable touches of contrary humanity. What was it like to listen to 8,500 guns, a sound that no human ear had ever heard before? For Winston Churchill, who visited France to see the war firsthand, the crescendo rose "exactly as a pianist runs his hands across the keyboard from treble to bass." For Private Frank Gray the thunder was "one roll, one roar, which never diminished and never increased, and which, indeed, imagination refused to conceive could be increased." After listening to a similar barrage, a U.S. Marine exulted: "I never want to have a grander feeling...

Author: /time Magazine | Title: Books: Memento Mori | 9/22/1980 | See Source »

...amusing scene, he insists on having a string quartet brought in to play the scherzo from Beethoven's Op. 131; we hear the music on tape, but the musicians use real bows to play on imaginary instruments. Elsewhere, Richard will not allow discourse to proceed until a keyboard piece has concluded, or until a trio of dancers has finished its ballet...

Author: By Caldwell Titcomb, | Title: The Bard | 8/12/1980 | See Source »

...underappreciated Martin is represented by his Sonata da Chiesa (1938) for viola d'amore and organ. The composer authorized the use of a flute instead of viola, and later scored the keyboard part for string orchestra. A Musical Heritage recording of the flute-and-organ option features Jean-Pierre Rampal and Marie-Claire Alain. But the flute cannot execute the double stops and many other subtleties possible on the viola d'amore, a little-used instrument with more strings than the normal viola. In this piece Martin fused serial and tonal procedures skillfully, and Thompson's interpretation particularly emphasizes...

Author: By Caldwell Titcomb, | Title: Black String Musicians: Ascending the Scale | 8/1/1980 | See Source »

...being booed at performances, an experience that he shrugs off: "No response at all would be worse." Once, in Vienna, a Stockhausen score called for him to strike a row of keys with his arm and hold them down for 30 seconds. As Pollini remained bent motionless over the keyboard, a whisper came from the first row: "He is exhausted...

Author: /time Magazine | Title: Music: Reluctant Cinderella | 4/21/1980 | See Source »

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