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Word: note (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...WHEN Hammond turns to up-beat territory that his stiff demeanor undercuts his enthusiasm. His "Johnny One Note" lacks flair, even though he does well with all the tricky Lorenz Hart lyrics. When he tries a peppy "Not Since Nineveh" (a Kismet item that should be cut anyway), it falls sadly flat...

Author: By Frank Rich, | Title: Cabaret | 10/14/1968 | See Source »

ELVIN JONES, PUTT'N' IT TOGETHER (Blue Note). Drummer Jones, who played with the late John Cohrarie, became famous for his fiery musical duels with the master. With Jimmy Garrison on bass and Joe Farrell splitting three ways on tenor, soprano sax and flute, Jones here uses his flashy technique to inspire, shape and embroider a harmonically free, three-way dialogue. Reza and Jay-Ree brim with bright looping arches of sound reminiscent of Ornette Coleman. Soloing on Kei-Ko's Birthday March, Elvin gets under way with a humorous drum-corps pattern that soon turns into...

Author: /time Magazine | Title: Television: Oct. 11, 1968 | 10/11/1968 | See Source »

...errors, especially if personal images are involved. It is a fact that Soraya did not attend any of the parties, and I'm afraid TIME can't be sure of her having made the referred-to statement. So, TIME should loyally apologize, and not just "note the demurrer...

Author: /time Magazine | Title: Letters: Oct. 11, 1968 | 10/11/1968 | See Source »

...revolution") and his country is almost as bitter as the one against West Germany. At a meeting last summer on his resort isle of Bnoni in the Adriatic, Tito got into a shouting match with Soviet Ambassador Ivan Benediktov. "Lies! Lies!" cried Tito, as the Soviet diplomat read a note from Moscow giving the Soviet version of events in Czechoslovakia. "You cannot talk that way," the Russian remonstrated. "Don't interrupt me!" shouted Tito...

Author: /time Magazine | Title: World: CAUGHT BETWEEN THE BLOCS | 10/11/1968 | See Source »

...20th century musical questions. Nobody else's methods-not Stravinsky's, Bartok's, Webern's or Berg's-would suffice. And so, what he worked out for himself was a tone-clustered, highly contrapuntal and dissonant style. By his self-imposed rules, no note in a melodic line could be repeated until eight or so others had intervened. His work has an atonal quality that often sounds like Schoenberg's middle-period serialism. Yet Ruggles had no use for the strict twelve-tone row, which he called "a dog chasing its tail." He evolved...

Author: /time Magazine | Title: Composers: Old Salt | 10/11/1968 | See Source »

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