Search Details

Word: vocalizing (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
Sort By: most recent first (reverse)


Usage:

...Went to Your Wedding (Spike Jones; Victor). Spike lowers the boom on this one, and about time, with an outrageous vocal by "Sir Fredric Gas." Fun for a while...

Author: /time Magazine | Title: Music: New Pop Records, Jan. 26, 1953 | 1/26/1953 | See Source »

...remark was "more expressive of religious sensitiveness than of any spirit of derision." Furthermore, said Dr. Douglass, "the real sacrilege is the merciless repetition of Silent Night and similar Christmas hymns by crooners, hillbillies, dance bands and other musical barbarians." The New York Herald Tribune editorialized: "If a vocal few hundred from an audience that may reach into the millions can bar a performer, no one on the air will venture an opinion ... In such an atmosphere there can be neither philosophy nor wit, and truth itself soon becomes a victim...

Author: /time Magazine | Title: Radio: The Troubled Air | 1/12/1953 | See Source »

...Deposit No Return (The Andrews Sisters; Decca). A solidly commercial attitude toward love in a cheerfully commercial clambake by the famous vocal trio...

Author: /time Magazine | Title: Music: New Pop Records, Jan. 5, 1953 | 1/5/1953 | See Source »

...most effective performer. In contrast, Judith Anderson's manner seems at times a little too elevated, Raymond Massey's a little too elocutionary. The chorus is well trained, but trained to do popular tricks. For every lusty "Jubili, Jubilo," there are a number of radio-like vocal gadgets and sound effects. Thus, over & over, the chorus-in a goblins'll-git-you voice-intones: "John Brown's body lies a mooolderin' in the grave." With the combined appeal of John Brown's stars and its story, there is no reason why Laughton shouldn...

Author: /time Magazine | Title: The Theater: Traveling Poem | 12/22/1952 | See Source »

...songs I thought Mr. Mandelbaum's settings of Psalms Nos. 139 and 140 for mezzo-soprano and cello showed the greatest freedom in the handling of a vocal line. He took excellent advantage of these highly dramatic texts and displayed an appropriate variety of moods while maintaining a stylistic unity with in the pair. Mr. Feder's settings showed a greater simplicity, more of a desire to render the texts than to interpret them. Yet his songs were to from colorless, I especially enjoyed the mock heroic piano recite after the Found liner. "And I would rather have my sweet...

Author: By Alex Gelley, | Title: Composers' Night | 12/19/1952 | See Source »

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