Essay for being an actual and modern day style of music …

And so it was that the musical world was surprised to learn at a press conference onNovember 20, 1957 that Leonard Bernstein had been named music director of the New YorkPhilharmonic. Perhaps the most convincing explanation is offered by Meryle Secrest, whocontends that Arthur Judson, impresario and manager of the Philharmonic since 1922, hadall but ruined the orchestra by hiring only personnel, soloists and conductors whom herepresented, a classic conflict of interest that had deprived the orchestra of theexcellence and variety it required for genuine stature. When Judson was finally ousted inSeptember 1956, the board knew that a clear break with past practice was needed to restorepublic confidence. Bernstein's youth, modern repertoire, charisma and audience appeal madehim a logical choice and he was selected over Guido Cantelli, a protege of Toscanini whoboasted all the traditional European virtues.

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UPDATED: You can now hear this essay read by the actress Debra Winger in Modern Love: The Podcast

Essay as being an precise and modern-day style of music …

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In a seven-part series, Guardian and Observer critics chart the history of modern music, tackling a different genre each day and picking 50 key moments

Classical vs. Modern Music Essay - 1080 Words | Bartleby

You may also sort these by color rating or. Was born as Theodor Ludwig Wiesengrund in. Life and career Early years. S provocative ideas on the composition and development of classical and modern music and their necessary. These results are sorted by most relevant first. Free Sociological papers, essays, and research papers. Wonderfully displaying the verve and richness of. An index with brief explanations and bibliographies.

Jan 07, 2011 · Credit Brian Rea . UPDATED: You can now hear this essay read by the actress Justina Machado in Modern Love: The Podcast. Look for the “play” button below.

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In all these matters Addison was on the side of sense and tasteand civilisation. Of that little fraternity, often so obscure and yetso indispensable, who in every age keep themselves alive to theimportance of art and letters and music, watching, discriminating,denouncing and delighting, Addison was one--distinguished andstrangely contemporary with ourselves. It would have been, so oneimagines, a great pleasure to take him a manuscript; a greatenlightenment, as well as a great honour, to have his opinion. Inspite of Pope, one fancies that his would have been criticism of thebest order, open-minded and generous to novelty, and yet, in thefinal resort, unfaltering in its standards. The boldness which is aproof of vigour is shown by his defence of "Chevy Chase". He had soclear a notion of what he meant by the "very spirit and soul of finewriting" as to track it down in an old barbarous ballad or rediscoverit in "that divine work" "Paradise Lost". Moreover, far from being aconnoisseur only of the still, settled beauties of the dead, he wasaware of the present; a severe critic of its "Gothic taste", vigilantin protecting the rights and honours of the language, and all infavour of simplicity and quiet. Here we have the Addison of Will'sand Button's, who, sitting late into the night and drinking more thanwas good for him, gradually overcame his taciturnity and began totalk. Then he "chained the attention of every one to him". "Addison'sconversation", said Pope, "had something in it more charming than Ihave found in any other man." One can well believe it, for his essaysat their best preserve the very cadence of easy yet exquisitelymodulated conversation--the smile checked before it has broadenedinto laughter, the thought lightly turned from frivolity orabstraction, the ideas springing, bright, new, various, with theutmost spontaneity. He seems to speak what comes into his head, andis never at the trouble of raising his voice. But he has describedhimself in the character of the lute better than any one can do itfor him.