Word: scored
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Dates: during 1940-1949
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...story (with picture) on good-looking Sheila Daly, teenagers' columnist for the Chicago Tribune and 34 other newspapers, produced, she says, the following reaction : 1 ) Six proposals of marriage, 2) an offer of a date for the Army-Navy football game from a West Point cadet, 3) a score of letters and telegrams on miscellaneous subjects, 4) a visit from a Hollywood representative to discuss a movie about a teen-age girl columnist. Miss Daly thinks that she would like to be technical adviser for that...
...second half, the Texans clearly outplayed the mighty Irish and boyish, narrow-eyed Kyle Rote ran his day's performance to spectacular totals: he gained 115 yards through the line and around the ends, pitched ten passes for 146 yards, scored three touchdowns. After his third score it took all of Notre Dame's All-America power to grind out one more Irish touchdown and go ahead, 27-20. Even then, in the last minutes of the game, Coach Matty Bell's men began to roll downfield again in a 67-yd. drive that was halted only...
Diagonal Demons. From the pit, Igor Stravinsky's 40-year-old score blazed as never before: Stravinsky himself had cut down the instrumentation from the original no pieces to 55, given the score new warmth, color and compactness. Choreographer George Balanchine had scrapped Fokine's original Russian-folk-dancy choreography completely, put his more Oriental Bird and Prince on more acrobatic tiptoe...
...writing the concerto, Hungarian Bela Bartok knew he was racing against death. Hating to waste one moment of time or one inch of score paper, the poverty-stricken composer wrote in a highly individualized musical shorthand, sometimes indicating whole passages with one or two pothooks, often squeezing in bars off the clef-at the edges and bottom of the sheet-without even indicating where they belonged. His most puzzling short cut was in the correction of notes: instead of erasing, Bartok grafted his improvement right onto the original...
...skull-cracking labor trying to decipher the piece. Serly later said: "No man ever had such a task in his life . . . In order to finish this work as Bartok would have finished it, I had to put myself in a dead man's mind." Serly completed the score for viola (after rejecting the notion of adapting it for the more popular cello) and worked out the full orchestration...