Word: rhythms
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Dates: during 1960-1969
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...GLAK AND OTHER STORIES, by Harvey Jacobs. Bizarre urban fairy tales delivered with the kick and rhythm of a nightclub comedian...
...modern works, did not compare favorably with Stravinsky's pivotal Movements for Piano and Orchestra (1959), with Harvard's Luise Vosgerchian as soloist. Octandre, for seven winds and contrabass, seemed individual but not highly original, consisting of some explorations of the percussive possibilities of wind articulation, propulsive rhythms, and generally uninteresting timbres. The piece seems much less provocative than the contemporary experiments of Hindemith, Bartok, Schoenberg, and Cowell. The Movements, however, a strictly twelve-tone piece, is characterized by pellucid, crystalline registration, pointillistic rhythmical control, and Stravinsky's unique unsentimental lvricism. This work linked Threni and Agon (1956), a supreme...
...attitude of elegant super-confidence and it took the Beatles several distinct steps to do it. After the creaky harmonies and raw enthusiasm of their early career, which reached its peak with A Hard Day's Night, came the monumental Rubber Soul, an album on which they conquered the rhythm and blues structure and set themselves forever free. Their first reaction to this freedom was to push it to its furthest limits which they did in continuous experiment from "Strawberry Fields" to "I Am the Walrus." What we have been seeing ever since has been a retrenchment. The Beatles...
...some ways to the tradition of postwar Italian realism and its masters, among them Rossellini and De Sica. Yet Olmi's films seem more precise, more tightly constructed, more acute. He has a film maker's sense of composition and a novelist's sense of rhythm and construction. The plot of One Fine Day is much like an anecdote by Chekhov. A middle-aged Milanese advertising executive (Brunette Del Vita) has led a smug and comfortable life of reasonable success with his job, with his family and his women. Two intimations of death destroy this placid equilibrium...
...good, pungent dialogue. "What do you want from us, baby?" shrieks a black homosexual to a desolated Roddy at film's end. "Whatever answers you're lookin' for, we ain't it. No matter what they tell you, baby, we ain't got rhythm." The fault of this modest and diverting enterprise is that, like Roddy himself, it can never resolve the question of black and white identities and, by attempting to combine the two, produces only an uneasy shade of gray...