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Little Giant is a 1946 American comedy drama film directed by William A. Seiter and starring the comedy team of Abbott and Costello alongside Brenda Joyce and Jacqueline deWit. It was produced and distributed by Universal Pictures. The film was released in the United Kingdom with the alternative title On the Carpet.
In it Babbitt for the first time employs a twelve-element duration set to serialize the rhythms as well as the pitches, [1] predating Olivier Messiaen's (non-serial) "Mode de valeurs et d'intensités", but not the Turangalîla-Symphonie (1946–1948), in which Messiaen used a duration series for the first time in the opening episode of the ...
Babbitt metal is most commonly used as a thin surface layer in a complex, multi-metal assembly, but its original use was as a cast-in-place bulk bearing material. Babbitt metal is characterized by its resistance to galling. Babbitt metal is soft and easily damaged, which suggests that it might be unsuitable for a bearing surface.
Babbit and Catstello are fictional characters, based on the comedic duo Abbott and Costello, that appeared in Warner Bros. animated cartoons. [2] The characters appeared in four cartoons between 1942 and 1946: once as cats, once as dogs, and twice as mice.
The Little Giant is a 1933 American pre-Code crime comedy romance. It follows the attempts of an ex-gangster to make his way into high society. The film was directed by Roy Del Ruth and starring Edward G. Robinson and Mary Astor. It was produced and distributed through Warner Bros. [1] The Library of Congress has preserved a print of this film. [2]
The lyrical, imagist tendencies of Babbitt's earlier vocal works are also evident in All Set, which combines a twelve-tone pitch structure using an all-combinatorial set (hence the work's title) to what Babbitt calls "jazz-like properties ... the use of percussion, the Chicago jazz-like juxtapositions of solos and ensembles recalling certain ...
The identifiable figures of the New Humanist movement, besides Babbitt and More, were mostly influenced by Babbitt on a personal level and included G. R. Elliott (1883-1963), Norman Foerster (1887-1972), Frank Jewett Mather (1868-1953), Robert Shafer (1889-1956) and Stuart Pratt Sherman (1881-1926).
In the interview, Babbitt suggests that the published title "had little of the letter and nothing of the spirit of the article", and protests, "Of course, I do care if you listen." [ 6 ] Yet, Babbitt's suggestion in the article for the composer of "advanced music" is "total, resolute, and voluntary withdrawal from this public world to one of ...