Paul Bowles on music by Bowles, Paul; Bowles, Paul; Herrmann, Irene; Mangan, Timothy

By Bowles, Paul; Bowles, Paul; Herrmann, Irene; Mangan, Timothy

It is a simple adequate activity if one has whatever to claim, Paul Bowles remarked in a letter to his mom approximately his first foray into song feedback. And Paul Bowles, certainly, had lots to claim approximately track. although identified mainly as a author of novels and tales, Paul Bowles (1910-99) considered himself at the start as a composer.

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notwithstanding recognized mainly as a author of novels and tales, Paul Bowles (1910-99) considered himself before everything as a composer. This publication collects the tune feedback that Bowles released between Read more...

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Wilmoth Houdini, probably the best-known calypsonian, explained it to me thus: “You have to sing in such a way as to tangle up your adversary. You can tell in a minute if he is really improvising, or only singing something he has made up beforehand. If he is doing that, it is your place to sing in such a way that when his turn comes to reply he must make it up on the spur of the moment in order to answer you. Singing is just like boxing. ” Clever use of long words, rhyme, and melodic invention within the given limits of the form chosen by the challenger are elements considered by the public in selecting the winner.

Wilmoth Houdini, probably the best-known calypsonian, explained it to me thus: “You have to sing in such a way as to tangle up your adversary. You can tell in a minute if he is really improvising, or only singing something he has made up beforehand. If he is doing that, it is your place to sing in such a way that when his turn comes to reply he must make it up on the spur of the moment in order to answer you. Singing is just like boxing. ” Clever use of long words, rhyme, and melodic invention within the given limits of the form chosen by the challenger are elements considered by the public in selecting the winner.

1941 On the Film Front JANUARY–FEBRUARY (1941), MODERN MUSIC Aside from Fantasia’s esthetic implications, the most important of which is having been called Nazi (not too ridiculous a term, in fact, since this kind of mindless super-slick kitsch is the perfect Fascist entertainment), it has a very real value in containing the best synchronization that has yet been made. Mention of Fantasia properly speaking doesn’t belong here, since this column concerns itself primarily with soundtracks containing new music made for pictures.

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