Word: schein
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Dates: during 1960-1969
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Many young managers, finding that they can get more and more money and responsibility by changing jobs, do so with startling frequency. Dr. Edgar Schein of the M.I.T. Sloan School of Management estimates that companies lose half of their new college graduates within the first three to five years of employment. Graduates of 15 years ago often regarded a job, like a marriage, as being for life; today's young men are more inclined to equate it with an affair-good until something more fetching comes along. George Robbins, dean of U.C.L.A.'s Graduate School of Business Administration...
...those two schools; and while they glimpse the development of political activism on their campuses, their students are trying out the tragi-comic scene of dropping, blowing, and shooting pot, acid, hash, speed, belladonna, sunflower seeds, airplane glue, freon, Benzedrex Inhaler tubes, Paragoric Pall Malls, Romilar, and Dr. Schein's Asmador Powder...
...kind of concentration needed to hear good music. The effort was great but the results were worth it to those who heard the concert given by the Harvard Summer School Chorus under conductor Harold Schmidt. On the program were the Schubert E Flat Mass, No. 6, madrigals by Schein, Morley, and Monteverdi, the Gabrielli In Eclesiis, Giuseppe Sarti's Fuga a otto voci reali, and Igor Stravinsky's Symphony of Psalms...
...three madrigals were Thomas Morley's "Phyllis I fain would die now," Mein Schifflein lief in wilden Meer by Johann Schein, and the two-part madrigal Altri canti di Marte by Claudio Monteverdi. They were sung under the direction of Mr. Schmidt by the Chamber Chorus. The Chamber Chorus, which is made up of a small portion of the Summer School Chorus, produces an over-all sound which, while generally excellent, sometimes becomes a bit too rich and developed to permit the listener to savor the true flavor of this type of music. The actual interpretation of the music -- balancing...
...orchestra followed the Schein with Bach's D major Suite--cleverly illustrating the evolution of derived dance forms. Bach ambitiously divides his instruments into three groups; trumpets (3) and timpani, oboes (3) and bassoon, and strings and continuo, giving to each both entire sections and incidental passages, bounded by two movements in unison. Jackson's approach emphasized accents and pulse rather than singing line; he propelled all but the ponderous Overture quite effectively. Solo playing varied from highly impressive (the oboes in the second Bouree) to characterless (the strings in the Trio...