Word: rhythmical
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Dates: during 1960-1969
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Something Else. Like many a modern jazzman, Coleman is trying to enlarge the content of jazz by allowing for a greater degree of improvisation. Bop musicians, most notably Parker, attempted the same thing in the 1940s by ignoring traditional rests and introducing low-volume rhythmic subtleties that freed soloists from the slogging swing beat. In the late '40s came the cool style pioneered by Miles Davis, with its lagging beat and light, dry sound...
...right and stopped; the two Fords halted bumper to bumper behind it. Instantly the squatting students hurled themselves forward. They beat on the car with fists and poles, hammered its body and kicked the locked doors. Glass cracked in the windshield. The mob began rocking the car in rhythmic time to a chant of "Go hoh-mu, Ha-gachee!" or "Yan-kee. go hum!" Thousands of other students who had been snake-dancing and marching near by rushed to join in. A Socialist member of Parliament, wearing a red sash, looked on approvingly from the sidelines and puffed...
...championship sprint last weekend, Navy was favored to get off to an early lead with its power-stroking beat of around 40 strokes per minute, then fight it out at the finish with Harvard, which gets great drive from its rhythmic beat of 32. Instead, Cornell surged from the stake boats with a breathless beat of 41, moved ahead like a wide-open hydroplane. Once they had the lead, Cornell's ex-jayvees coolly dropped the beat to 31, understrok-ing even Harvard. Rowing against an 18-m.p.h. wind. Cornell held...
...atonal-in fact, he was an atonalist back in the days before the tone row had replaced the velvet neckcloth as a musical status symbol. But in contrast to the cool, desiccated manner of European twelve-tone composers of the Schoenberg-Webern school, Riegger turned out propulsive, ruggedly rhythmic compositions full of jangling dissonances and roughhewn contrasts. The effect was sometimes as startling as an impressionist-styled canvas executed with a house painter's brush...
Last week's concert displayed the early Riegger in Blue Voyage (1926), a shimmering, almost Debussyan mood piece; the later Riegger in Variations for Violins and Violas (1957), a series of brief, busy, crotchetily rhythmic episodes that exploded in the ear as strangely as a satellite's call; and finally the less flamboyant, middle-ground Riegger in the serene, elegant textures of Canon on a Ground Bass by Henry Purcell (1951). Not included was the work for which Riegger is perhaps best known-his Third Symphony (1947), which won the New York Music Critics' Circle Award...