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Word: wagnerism (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

Powers uses the word muscle in the sense of union strength, not of physical violence. But it is that intransigence of attitude that has, despite the pleas of President Kennedy and Labor Secretary Wirtz, despite the mediation attempts of New York's Governor Nelson Rockefeller and Mayor Robert Wagner, caused the breakdown of negotiations on issues that should be negotiable. The main issues...

Author: /time Magazine | Title: Labor: Hard Times | 3/1/1963 | See Source »

...math, Latin, plain hard work, with Taft family money to keep it improving. In Cruikshank's years, this formula has educated more than 2,000 boys, most of them rock-ribbed Republicans, though Taftmen also include such fugitive Democrats as New York City's Mayor Robert F. Wagner. Academically Yale-feeding Taft is as solid as ever, with 40% of its boys taking advanced placement college courses. It is rich enough (endowment: nearly $2,500,000) to have a first-rate faculty, an indoor hockey rink and a new $650,000 science center, and to give scholarship...

Author: /time Magazine | Title: Prep Schools: Taft's Third | 2/15/1963 | See Source »

...previous lectures, Schrade called such music dramas only close forms of tragedy; he claimed that baroque opera consisted only of "tragic situations" and that Wagner did not depart from this practice...

Author: By William A. Weber, | Title: Schrade Discusses Fate In Development of Opera | 2/14/1963 | See Source »

Schrade attacked Wagner for claiming to be the agent of fate and thereby "forsaking all that music as an art had ever been." He condemned Wagner for changing myth to fit his artistic purposes. The composer "even presumed to be a maker of myth" and turned his music dramas from the "true course of the sagas." Bayrouth was in his view a farce, and was not the semblance of Greek theatre...

Author: By William A. Weber, | Title: Schrade Discusses Fate In Development of Opera | 2/14/1963 | See Source »

This style set the "basic potential of dramatic expression in music" which all later composers accepted, Schrade claimed. He called Gluck's attempts to reform this style "fruitless discussion," and said that in Wagner's music dramas "unbridled passion still remained the basis." If Mozart did not write a "full-blown" tragedy in Don Glovanni, the opera at least "betokened the features of tragedy" because "no sharp bound can be set where comedy ends and tragedy begins...

Author: By William A. Weber, | Title: Schrade Discusses Fate In Development of Opera | 2/14/1963 | See Source »

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