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Since those days, pioneer Modernist Cowell, now 56, has run up his own musical scores to more than 800, including eleven symphonies, and his music has been played around the world. None of his performances has ever caused so much public excitement as the Leipzig affair, but, as composer and teacher, Henry Cowell has had an undoubted influence on the music of the past three decades. Last week, for the 25th anniversary of his first regular teaching appointment, Manhattan's New School for Social Research staged a retrospective concert of his music. To mid-century ears, Cowell...

Author: /time Magazine | Title: Music: Pioneer at 56 | 11/30/1953 | See Source »

Sharpest counter-polemic came from Jesuit Father Joseph Christie, preaching in London. Answering the archbishop's complaints of aggressive Catholic proselytizing. Father Christie said: "We do not need to seek converts; they are driven to us by Communists and modernist clerics within the [Church of England] itself...

Author: /time Magazine | Title: Religion: Counter-Polemics | 11/2/1953 | See Source »

...many of the big commercial shows. It is equally natural for radio to offer contemporary music, he insists. The radio audience is well accustomed to modern sounds: "It hears them [as background music] every time it tunes in on a mystery thriller, and never turns a hair at the modernist dissonances...

Author: /time Magazine | Title: Music: Comes the Contemporary | 10/5/1953 | See Source »

...need to hear: "We are looking for two kinds, the kind that reacts to the crude life around us, and the kind that creates a remote world that is far from everyday life." Stokowski has a strong feeling for the second kind, promises new fantasies by such composers as Modernist Wallingford Riegger and Tapesichordist Vladimir Ussachevsky (TIME, Nov. 10) for future CBS network programs...

Author: /time Magazine | Title: Music: Comes the Contemporary | 10/5/1953 | See Source »

Last week Stan Kenton, a modernist bandleader whose arrangements blend boppish bounce with blood-curdling dissonances, prepared for his Paris debut with understandable misgivings. But when concert time came, the theater was very nearly filled. When the curtain rose, friendly applause swept up from the audience, and Dixieland partisans, if any, behaved themselves. Kenton & Co. gave them a program of tightly orchestrated originals, emphasizing in turn their lush reeds and knife-edged brasses. After listening to such Kenton favorites as Collaboration, Opus in Pastels, 23 North, 82 West (the coordinates of Havana), the crowd whooped "Bis! Bis!" Said Kenton...

Author: /time Magazine | Title: Music: Progressives Abroad | 9/28/1953 | See Source »

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