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Word: modality (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

Tending the Image. The astonishing thing about Stravinsky's development up to this point was that unlike Schoenberg, he never turned his back entirely on the tonalities of the 17th, 18th and 19th centuries or on the modal style of earlier eras. In the 1940s, Stravinsky, always a wandering cosmopolite, moved to Hollywood, near Schoenberg's home. Yet the two rivals maintained a chilly distance from their respective hilltops. It was only in 1953, two years after Schoenberg's death, that Stravinsky finally embraced serialism. Of the dozen or so twelve-tone works he produced prior...

Author: /time Magazine | Title: Music: The Rightness of His Wrongs | 4/19/1971 | See Source »

Harvard radio station WHRB played yesterday Bob Dylan's "Rainy Day Women Numbers 12 and 35" and "Euphoria" by the Holy Modal Rounders...

Author: By Samuel Z. Goldhaber, | Title: FCC Orders Broadcasters To Ban Pro-Drug Songs | 3/8/1971 | See Source »

...award has been given annually since 1962 to groups of scientists varying in number from one to twelve. The award carries no prize aside from the modal and the citation...

Author: NO WRITER ATTRIBUTED | Title: Nixon Will Present Professor with Medal | 1/29/1971 | See Source »

...racketing thump of a rock beat. What follows this seemingly incongruous prelude is a swirling, eye-and ear-catching panoply of ballet maneuvers, from chastely classic lifts to Broadway shuffles, set to an eclectic score (by Alan Raph and Lee Holdridge) that blends the modish and the modal. The climax is a joyous, foot-stamping, yet thoroughly unblasphemous rock version of the Ite, missa est chant that ends the Latin Mass. At the diminuendo finale, the dancers lay rows of votive lights across the stage and drift silently, monkishly, into the wings...

Author: /time Magazine | Title: Music: Verve, Nerve and Fervor | 11/16/1970 | See Source »

...point for "bending the pitch" of the next interval, to be played in "meend," a technique similar to the "blueing" of notes in jazz. "The beauty of the sitar lies in pulling the notes from one fret to another," according to Mirza. The drawn-out sounds create the strange, modal, wailing effect which western ears find so intriguing...

Author: By David Sellinger, | Title: Raga Mirza in Concert | 3/4/1970 | See Source »

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