Word: toning
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Dates: during 1960-1969
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...dirge tempo. The crowd was silent as the mourners in black followed the casket. One heavy old woman with fleecy white hair was weeping into a handkerchief and singing out the words of the hymn in between sobs. Her rich voice wailed above the brass with a clear, poignant tone...
...complex, which Kunen can only talk about with the elaborate fantasy of "The Big Letter" which he expects may arrive any day -- "I wasn't sure what it would be, except that it would be a directive or executive order from my superior telling me to do something." This tone of wise and bitter taunting comes to be Kunen's most frequent voice. Reflecting on how the narcs busted Jerry Rubin, he writes...
Many church leaders nevertheless recoiled both at the tone of the document (it mentioned "armed struggle" if necessary) and at Forman's aggressive tactics in publicizing it. A few were ready to accept New York Mayor John Lindsay's offer of police protection for houses of worship. Others were obviously moved by the manifesto's charge that Negroes had been "kept in bondage and political servitude and forced to work as slaves by the military machinery and the Christian church working hand in hand." By week's end the General Board of the National Council...
THERE HAS been an everlasting sad waste of energy in wrongly viewing twelve-tone music as satanic chaos perpetrated by diabolic madmen solely toward the death of music. It is true that the danger of Schoenberg's techniques is their elegant simplicity. In the hands of a master they can be a revelatory means to expression, while in the grip of an ordinary musical merchant they can depreciate into rococo pyrotechnics, vapid and uncommunicative. The calumny heaped upon Schoenberg is disgraceful. He sought not to create "modern" music but to allow music to speak her feelings in the modern...
...radical post-war avant-grade split into those wishing to fulfill the logic of dense twelve-tone organization, represented by such composers as Milton Babbitt and Pierre Boulez, and those desiring to create music with the least possible constraints, represented by Cage and Stockhausen. The latter reacted against the old ghosts of Kingsor and Vienna, Wagner and Schoenberg himself. The new principle was that the legitimacy of music flows simply from the auditor's effort to feel sheer sounds. Music is the sensitized constancy of the world's masses. To borrow a term from language studies, music is mimetic...