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INTRO TO SCULPTURE: The beginning word of each theme answer (i.e. the INTRO) is a medium that can be used for SCULPTURE. Glass sculpture by Dale Chihuly This was a fun theme to put together, and I ...
Margaret Petherbridge Farrar (March 23, 1897 – June 11, 1984) was an American journalist and the first crossword puzzle editor for The New York Times (1942–1968). Creator of many of the rules of modern crossword design, she compiled and edited a long-running series of crossword puzzle books – including the first book of any kind that Simon & Schuster published (1924). [1]
Crossword-like puzzles, for example Double Diamond Puzzles, appeared in the magazine St. Nicholas, published since 1873. [31] Another crossword puzzle appeared on September 14, 1890, in the Italian magazine Il Secolo Illustrato della Domenica. It was designed by Giuseppe Airoldi and titled "Per passare il tempo" ("To pass the time"). Airoldi's ...
Usually this happens once or twice at the beginning and the end of a performance. For example, many Clifford Brown recordings characteristically feature a short piano intro, the head, several choruses of solos and a recapitulation of the head followed by an outro coda. Although it most commonly is, the head does not need to be played at both ...
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The Telegraph states that it is a "comprehensive guide to the most important jazz compositions, is a unique resource, a browser's companion, and an invaluable introduction to the art form", adding that "musicians who play these songs night after night now have a handy guide, outlining their history and significance and telling how they have been performed by different generations of jazz ...
Jazz standard – musical composition which is an important part of the musical repertoire of jazz musicians, in that it is widely known, performed, and recorded by jazz musicians, and widely known by listeners. Jazz standards include jazz arrangements of popular Broadway songs, blues songs and well-known jazz tunes. List of pre-1920 jazz standards
Although "Tanga" preceded "Manteca" by several years, the former is a modal descarga (Cuban jam), lacking a typical jazz bridge, or B section, and is not well known enough to be considered a jazz standard. [9] When Gillespie first began experimenting with Afro-Cuban rhythms, the bebop pioneer called the subgenre cu-bop.