Word: rhythmical
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Dates: during 1960-1969
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...dungarees, members of the cast drib ble a basketball, wrestle, somersault and shadowbox. Someone pumps back and forth on a child's swing. The seat of that swing will later serve as Harry of Monmouth's throne. The rising intensity of sticks beaten rapidly together, a rhythmic tapestry of violence, suggests a neighborhood gang rumble. One knows in one's slightly chilled bones that this war is not going to be fought on the dap pled green fields of Eton but on the harsh black asphalt of a city playground...
...come on the stand bearded and bowed, seemingly dwarfed by his big horn, smiling mischievously. The notes would stumble at first, and the tremolo might widen into an uncontrolled wobble of sound-but sooner or later Hawk would explode into a solo that recalled earlier days: warm, austere, unfailingly rhythmic even in the midst of a caressing ballad. Afterward he might laugh a little, as if sharing the private pleasure of self-rediscovery with his audience. "He put a lot of beauty into his playing," said Drummer Eddie Locke, a longtime friend. "He was full of music...
...terminal and key road junctions on the sprawling city's edges. Sonic booms occasionally rattle the windows of Cairenes as MIG fighters scramble daily on simulated interception missions. Through the clear air, as gun crews perfect their skills in the nearby desert, come the crump of artillery and the rhythmic tat too of antiaircraft fire...
...beats, the bassists (Lassie Sachs) consistently keeps up a furious fluttering, Bobby Gass, on organ, punctuates the music with gigantic, sudden, marching chords, constantly accenting with his left hand the lyrical melodies that he plays with his right. The lead-guitarist, John Sheldon, has the kind of rhythmic chording sense that is so conspicuously absent in most white American rock-guitarists. In addition there is a fifth instrumentalist in the group, Kenny Haag, who provides some extra syncopation on rhythm guitar or tambourine or whatever is at hand...
Chamber Piece for four players by John Stewart is an examples of the quasi-Schonbergian writing which seems to spring eternal in student pieces like the waters of Lethe. The irrepressible antiquarianism of this style is characterized by self-conscious alternation of techniques, little rhythmic interest, and no intensity of construction. It fails to explore the subtler sound properties and combinations of the instruments, resulting in tedious, rhetorical pointillism. In this case the tedium nearly became punishment since the clarinet tone was coarse enough to make a serpent seem mellifluous. As with all the works, it was impossible to determine...