Word: stilling
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Dates: during 1960-1969
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...this point our assumption expert proceeds to discuss anything which strikes his fancy at the moment. If he can sneak the first assumption past the grader, then the rest is clear sailing. If he fails, he still gets a certain amount of credit for his irrelevant but fact-filled discussion of scientific progress in the 18th century. And it is amazing what some graders will swallow in the name of intellectual freedom...
...fraudulent amateur celebrating merely the craft of symphonic composition. Others consider him, like all other "late-romantic" (i.e., decadent) composer, as imperishable for is aspirations but cruelly betrayed by the fragility of is introspective poeitc angelus. These views are of course critical abnegations; as Tovey said of the still-fashionable distaste for Liszt, belief in devils is so easy...
...death-knell of the symphony; in which traditional forms were dealt a stunning blow and collapsed from sheer exhaustion after the breathless and reckless creation of munificent musical cathedrals on the consumptive soil of weary nineteenth-century harmony. The post-romantic decades are viewed as the beginning of a still-unresolved crisis in which succeeding musicians have become crippled with a morbid obsession of emancipation from the past, resulting in the aberrations of serialism and the avant-garde. While it is undeniable that these years were apocalyptic. Mahler's compositions were sui generis, employing a musical language of the utmost...
Gleaming Light is on the rail a half-length off the pace, and Larry Adams still has a little horse under him. The reins are slightly taut. Hydrologist is next, on the lead, and Cordero has set his horse down for a strong hand ride, the reins loose. Distray, a length off the leader, is being asked for some run by Rotz. Fourth from the rail is Art And Letters, Baeza up, two lengths from the leader and moving fastest of all. Braulio is not pushing his mount. The horse is running on its own courage, still fresh. But, notice...
Furtively and cryptically. Mayer has begun to explore his obession with illness and death. It is a measure of the terror of the obsession itself that from the perspective of good health and at the distance of art Mayer still confronts the horror obliquely--through understatement, burlesque, and nonchalance. But do not be misled by these devices into doubting the seriousness of Mayer's purpose. The wail of fear drones in the songs (some of which, like "Cat Scratch Fever," recur in his shows as anthems), in the abruptness of the pacing and in the roller-coaster whirling...