Word: wagnerism
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...board approved a bussing plan, due to start next fall, that would have sent more than 500 whites to predominantly black schools and guaranteed that no minority-area school would be less than 70% white. The plan was less than satisfactory to the Rev. Jesse R. Wagner, co-chairman of a black-white group called Citizens for One Community that wanted fuller integration. Still, he worked hard for the bussing scheme-in contrast to Denver's black separatists, who told Wagner, in effect: "Do your thing...
...Newman) meets aging Avis girl (Woodward). She tries harder; he marries her. Alas, Capua suffers from autoeroticism. Night after night' he stays at the speedway, revving up his car instead of his wife. One morning he comes home to find her in the arms of another driver (Robert Wagner...
Ironically, just as the minority abandons it, the masses begin to fawn upon its fifty-year-old innovation for the wrong reasons. Beethoven, Berlioz, Wagner, and Schoenberg were regarded, with varying vehemence, as musical antichrists, Yet now that they are heard, with deadening frequency, they are widely caricatured as rebels or prophets, venerable and unapproachable. They are accorded all honors except the simple duty of critical listening. As Bernard Shaw's Saint Joan laments upon realizing that her belated 1910 canonization was due to a stupid society's mute guilt rather than its compassion: "Woe to him whom...
...PERIOD in the arts has so mesmerized succeeding generations of artists, or so bewildered the public, as the years from 1882 to 1935 -- years of almost constant musical detonations. The main crisis was that the girdling shadow of the colossus Wagner had to be escaped. The entire community of Europe agonied in the punishing ascendency of the magnificent nineteenth century figures: Beethoven, Wagner, Brahms, Metternich, Bismarck, Darwin. Music was caught in a vortex of gigantic, lavish attempts at the final romantic masterpiece. Mahler's Eighth Symphony, Richard Strauss's Symphonia Domestica and Alpine Symphony, Schoenberg's Pelleas and Melisande...
...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; it imitates life as it strives...