Word: modernizations
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Dates: during 1950-1959
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...movie was made in a Greek village called Kritza with its populace participating. Dassin's evocation of this atmosphere is the final triumph of the film. He has isolated a place which seems to belong at once to antiquity and to the modern world, and found it inhabited with people of all shades of passion and knowledge, from the clearest white to the darkest black. A tremendously serious movie, it is also full of wise and ridiculous humor. Surely there is no better sign than this of Dassin's success...
...another spectacular aspect of the modern drama unfolding in old-time pirate sea haunts, Cuba's Prime Minister Fidel Castro declared from a plane in flight that the Cubans were...
...Edward D. Stone's museum for A. & P. Heir Huntington Hartford Jr., a ten-story concrete structure that will sit on an island in Manhattan's Columbus Circle. Turning his back on the glass-brick walls he used for Manhattan's Museum of Modern Art, Stone has designed a monumental façade of white marble, enriched by porphyry and verd antique marble medallions over the columns of the arcade. Admits Stone: "The resemblance to Venice, the Ca' d'Oro and Doges Palace, is probably unmistakable...
...continual fascinations of contemporary music is the tension between originality and tradition arising from apparently conflicting ideals of being at once modern and timeless. While composers plead for the chance to break free from the constraints of the 18th and 19th Centuries, they tacitly concur with the critics (and the audiences), who cling to their touchstones, comparing every modern composition to the classical paragon in its form, usually harshly, often unfairly applying criteria that are not altogether suitable. The composer faces the choices of breaking definitely with the musical past; or creating a new mainstream of music by appealing...
Randall Thompson has chosen the last course, bringing a modern harmonic vocabulary to the forms and even the styles of the classical composers. His most distinctive characteristic--the parallel chordal progressions and the contrary motion of mirroring lines shows the same concern for pattern that characterizes baroque music. His counterpoint is at times almost indistinguishable from late baroque, especially in his formal fugues, and he avoids the unusual intervals of contemporary music in favor of more traditional linear movement...