By Marta Robertson
Aaron Copland (1900-1990) is usually thought of the preferred and recognized composer of yankee artwork tune, and but little scholarly awareness has been paid to Copland because the Nineteen Fifties. This quantity starts off with a portrait of the composer and an assessment of important learn tendencies that's meant to fill a void and to signify instructions for additional study. The consultant additionally presents a piece discussing Copland's interdisciplinary pursuits, corresponding to ballet and picture paintings, in addition to a entire bibliography of writings approximately Copland and his track.
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Additional info for Aaron Copland: A Guide to Research (Composer Resource Manuals)
Our New Music; Leading Composers in Europe and America. New York: McGraw-Hill, 1941. xiv, 305 p. C76 N5. This is the original text that was revised and enlarged as The New Music, 1900–1960 in 1968. Copland discussed contemporary music in the United States and Europe, contextualizing it with observations about nineteenth-century music. B are indicated below. See: The New Music, 1900–1960. Contents Our New Music; Leading Composers in Europe and America PREFACE ACKNOWLEDGMENTS I. Survey of Contemporary European Composers The Argument Preliminaries The Background—Late Nineteenth Century Nationalism Moussorgsky’s Realism The Impressionism of Debussy The Late Romantics: Strauss, Mahler, Scriabin, Fauré, Sibelius See: “Five Post-Romantics” The Middle Ground—Before 1914 Schoenberg’s Expressionism Stravinsky’s Dynamism Béla Bartok The Foreground—Since 1918 42 AARON COPLAND: A GUIDE TO RESEARCH Music after the First World War Ravel and Roussel Satie and “Les Six” The Lyricism of Milhaud See: “The Lyricism of Milhaud” The Jazz Interlude See: In part “Jazz Structure and Influence” The Neoclassic Movement The Neoclassic Influence The Present Day See: In part “The Musical Scene Changes” Coda II.
ISBN 0451628802. ) In this book Copland instructed listener-readers in the elements and forms of music. The content was drawn from fifteen lectures that Copland presented at the New School for Social Research in New York, during the winters of 1936 and 1937. His goal was to “put down as clearly as possible the fundamentals of intelligent music listening” for the layperson and music student. Written from the perspective of a composer, rather than an educator, Copland explained: “The composer has something vital at stake.
Xii, 463 p. ISBN 0312033133. C756 A3 1989. The second volume of Copland’s autobiography/biography continues the format of the first volume, beginning with Copland’s score for the film The North Star. Perlis took a more active role in narrating this second volume, which includes seven “Interlude” sections, alternating with nine chapters based on interviews with Copland. PRIMARY SOURCES—COPLAND’S WRITINGS 45 B. Articles and Essays 1. Copland as Sole Author 8. C. d. MS. 197/1, Aaron Copland Collection.
Aaron Copland: A Guide to Research (Composer Resource Manuals) by Marta Robertson