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...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...

Author: By Salahuddin I. Imam, | Title: The Bead Game | 5/9/1969 | See Source »

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...

Author: By Chris Rochester, | Title: New Music | 5/5/1969 | See Source »

Spirit and Place. A made-in-America company might bring more rhythmic pizazz to Calendar; none but the Royal could evoke the special virtues of Enigma Variations. Based on the orchestral score by Sir Edward Elgar, the work is a nostalgic visualization of a half-remembered spirit and place: green and pleasant England at the end of Victoria's reign. Before a stunning set by Julia Trevelyan Oman that at once suggests the languor of an autumnal afternoon and the oaken mellowness of a Worcestershire estate, the Royal's dancers bring to life the Malvern Circle of friends...

Author: /time Magazine | Title: Ballet: In the English Style | 5/2/1969 | See Source »

HARVARD Yard was a mosaic of confused activity as the university moved into its second week of crisis. The throb of rock bands echoed from the old walls, sometimes drowning out the rhythmic chants of black militants, often punctuated by the harsh rasp of bullhorns blaring out strike messages. The walled yard had the air of an ancient red brick city under siege. White sheets emblazoned with STRIKE in bold red letters hung from the windows of freshman dormitories and classroom buildings. Strike posters and copies of the antiadministration underground paper Old Mole were stapled to the venerable elm trees...

Author: /time Magazine | Title: Education: Campus in a Cruel Month | 4/25/1969 | See Source »

Central to the songs of this team is the faithfulness of the lyrics to the gut essentials of emotion and the accompanying faithfulness of the music to the erratic course the relentlessly frank lyrics take. And thrown in with all this are the rhythmic patterns, which fluctuate wildly as the words shifts (often suddenly) between hope and despair...

Author: By Frank Rich, | Title: If Conrad Birdie Came Back to Broadway, Would He Have to Drop Some Acid First? | 2/27/1969 | See Source »

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