Word: sung
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...sweet and tenderly humorous song of youth is always appealing; and when it is sung mostly in rhythm and with nearly perfect nostalgic pitch, it becomes something of a rarity...
Look at what Dylan does with time. The past is sung as if it were just happening now. The present becomes the only kind of reality. The future isn't mentioned unless it's predetermined; if the future is determined, its reality is already there in the present. Take Dylan's story of God and Abe. As a historical anecdote it only has meaning in the way it relates to the present and in the way it is happening in slightly different contexts right now. So Dylan slips almost unnoticeably from "God said" to "God say." There's no difference...
...Much of Nothing, sung by Peter, Paul, and Mary is another song Dylan wrote. The Nothing is the same nothing Dylan saw in Frankie Lee and Judas Priest. "Too much of Nothing," Dylan writes, "can turn a man into a liar. It can cause some men to sleep on nails, the other men to eat fire. Everybody's doing something, I heard it in a dream." Sleeping on nails and eating fire are obvious acts of faith, and are at least some kind of answer to a life where a man who "don't know a thing" can be made...
...face, intensely pleased to watch beautiful people gaze at one another and sing lines like, "Mais tu es merveilleuse," and "Son profil est celui de ces vierges mythiques qui hantent les musees et les adolescents." Michel Legrand's music (never absent--like Cherbourg, the film is entirely sung) makes much use of half a dozen excellent themes; a ridiculously Rachmanioffy piano concerto and the chanson de Maxence are particularly memorable. Demy's lyrics simple and direct ("Estelle loin d'ici? Est-elle pres de moi? Je n'en sais rien encore mais je sais qu'elle existe.") advancing exposition without...
...were a song of Mozart's. In fact, he writes, "not even a Mozart or a Schubert composed anything more natural and simply inspired." Blues Singer Bessie Smith's laments of a gin-soaked life might as well be lieder sung by Lotte Lehmann for the way Schuller praises their "fusion of technical perfection with a profound depth of expression...