Word: modernness
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Dates: during 1960-1969
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CUSTER DIED FOR YOUR SINS, by Vine Deloria. A savagely funny and perceptive book by a young member of the Standing Rock Sioux tribe examines the modern plight of red men beset by white plunderers and progressives alike...
...grab a subject like oceanography or lasers, which don't instantly suggest color, and illuminate a whole area that might otherwise be buried in scientific texts." And sometimes, too, there are those subjects which suggest nothing but color-such as the rainbow-hued fall furs in Modern Living's "The Skin Game" this week...
...ubiquitous presence of rumor; it is a fixture of every state polity. In the form of trial balloons, rumors are deliberately lofted to survey popular sentiment. Before Gutenberg, word of mouth constituted man's principal means for exchanging knowledge, and it would be difficult to prove that modern instruments of communication have improved things much. If legend and myth are solidified rumor, so may be the printed picture and word-secondhand hearsay that is susceptible to the same kind of distortion that rumor undergoes in its journey from one willing ear to the next...
BOSTON will enjoy the gifts of three conductors of the first magnitude this year: Seiji Ozawa, Claudio Abaddo, and Leon Kirchner; and Kirchner is providentially accessible to Harvard audiences as the conductor of the Boston Philharmonia. This excellent chamber orchestra serves the salutary purposes of offering varied programs, significant modern works, and vital playing, three qualities egregiously absent from the Boston Symphony Orchestra, which gives every indication of expiring into another seven months of unremittingly harsh and indifferent prosecutions of emulsified, vindictively pasteurized programs gleaming with lambent somnolence. Kirchner does not specialize in conducting twentieth century music, although...
Edgar Varese's Octandre (1924), one of the two modern works, did not compare favorably with Stravinsky's pivotal Movements for Piano and Orchestra (1959), with Harvard's Luise Vosgerchian as soloist. Octandre, for seven winds and contrabass, seemed individual but not highly original, consisting of some explorations of the percussive possibilities of wind articulation, propulsive rhythms, and generally uninteresting timbres. The piece seems much less provocative than the contemporary experiments of Hindemith, Bartok, Schoenberg, and Cowell. The Movements, however, a strictly twelve-tone piece, is characterized by pellucid, crystalline registration, pointillistic rhythmical control, and Stravinsky's unique unsentimental lvricism...