Word: traditionalist
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Dates: during 1950-1959
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...change, especially the pleasant one of "public cuddling," in which young lovers hugged and squeezed each other on Friday and Saturday nights in Urk's 40O-yard-long main street, while around them a circle of shouting and laughing boys and girls teased the lovers ("Afterward," said one traditionalist, "the brides were properly led to the altar...
...Their final answer was enough to make a sultan shudder: it is not gilt, or even silver wash, but a lightweight, gold-anodized aluminum shell (cost: $364,000). Too modern, cried some citizens; too ignoble, said others. "It will look like an ad for an orange drink." snapped one traditionalist. The builders pressed on with their work, hoping to have it finished this fall. Historians pointed out that the Caliph of Damascus had melted down 100,000 gold dinars to gild the original dome. The new aluminum one will look the same, and at a fraction of the price...
...course all upright men are opposed to these sinister agents of the enemy, but we are also opposed to the traditionalist, who insists the schools exist solely for the gifted minority who will go on to college. These are the classroom martinets who think of their students as buckets into which they must pour a predetermined number of facts...
...never found the proper syntax for them." Just about the only older composers for whom Boulez has a kind word: Schoenberg's late pupil Anton Webern, and France's 49-year-old Organist-Composer Olivier Messiaen, from whom Boulez sought composition instruction after giving Paris' traditionalist Conservatoire the back of his hand ("The composition professors were imbeciles"). From Webern, Boulez derived and refined Schoenberg's twelve-tone technique to its uttermost austerity, and from Messiaen he absorbed an interest in Oriental cultures. Today Old Master Igor Stravinsky, 76, admits that Boulez has influenced even him, regards...
...intense, Wieland differs from his tempestuous grandfather in temperament, but not in artistic outlook. Both stagecraft innovators in their day, Richard liked his opera gorgeously colored and realistically detailed; Wieland likes to keep his decor schematic and sparse, consisting more of lines and lights than of wood and canvas. Traditionalist critics sometimes say that he keeps things simple out of a lack of imagination, or to save money. But his latest production looked as if it might convert the last holdouts among the traditionalists; almost certainly the Old Man would have been one of the converts...