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Alas, Poor Oedipus...

Author: /time Magazine | Title: Essay: POP-PSYCH, or, Doc, I'm Fed Up with These Boring Figures | 10/7/1966 | See Source »

...which permeates the entire college. Today's students insist on creating their own music. The conventional dance bands who once stood assured Harvard bookings on important weekends have disappeared entirely. The initial swing to folk music at turn of the decade has given way student twist groups such as "Oedipus and his Three Mothers" who pound out their pulsing rhythm almost every weekend...

Author: By Daniel J. Singal, | Title: SDS-- Harvard's New Left--Feels 'Underprivileged' In Generation Which Prizes Making Own Decisions | 6/3/1966 | See Source »

...highest quality that I have discovered of late on visits to colleges and music schools such as Oberlin, Eastman, the University of Texas. I found not only talent but a sensible new generation of human beings. Last spring at an agricultural college in Indiana, I saw my Oedipus Rex in an excellent production by students whose other time, for all I know, was occupied with lectures on fertilizer. Then, only a few weeks ago, I heard the Eastman School orchestra play to perfection, on a minimum of rehearsal, some of my most difficult later music, which at least one renowned...

Author: /time Magazine | Title: Composers: View from the Top | 5/6/1966 | See Source »

...Locomotion" has caused a considerable controversy among local music scholars. Before her much deserved plunge into oblivion, Little Eva recorded three mediocre songs around the same time. They were "Old Smokey Locomotion," "Turkey Trot," and "Keep Your Hands Off My Baby." Clair Burrill '66, lead singer of Oedipus and His Mothers, has provided fairly convincing proof for the latter, but we gave credit for any of the three answers...

Author: By Andrew Beyer, | Title: The Answers You've All Been Waiting For: | 4/1/1966 | See Source »

Yannatos's ballet Oedipus, would probably be all right if it were performed with dancers. It effectively realizes its goal of conveying the kind of discomforting moods one associates with the tragedy of Oedipus. But as a concert piece it doesn't quite make it. It has its moments: an exciting crescendo in the first section, or the sometimes startling rhythmic attacks by the strings. Generally, however, it is disappointing. A few times the strings start a vamp that in most modern composers would lead to a moving buildup. But here the woodwinds sneak in a few insipid, undefined attempts...

Author: By Thomas C. Horne, | Title: Harvard-Radcliffe Orchestra | 3/7/1966 | See Source »

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