By Marta Robertson
Aaron Copland (1900-1990) is mostly thought of the most well-liked and recognized composer of yankee paintings track, and but little scholarly realization has been paid to Copland because the Fifties. This quantity starts off with a portrait of the composer and an assessment of vital examine traits that is meant to fill a void and to indicate instructions for additional learn. The advisor additionally presents a piece discussing Copland's interdisciplinary pursuits, equivalent to ballet and movie paintings, in addition to a complete bibliography of writings approximately Copland and his track.
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Additional resources for Aaron Copland: A Guide to Research (Composer Resource Manuals)
Invoking the names of Franz Liszt, Erik Satie, Ferruccio Busoni, Arnold Schoenberg, and Alfredo Casella, who had championed young European composers, Copland laments the lack of such fig ures in the United States. Copland surveys the careers of seventeen composers, between the ages of twenty-three and thirtythree, and groups them into schools—Prix de Rome, PRIMARY SOURCES—COPLAND’S WRITINGS 51 Revolutionaries, Free Lances, Students of Ernest Bloch, and Students of Nadia Boulanger. Copland discusses the merits and shortcomings of selected works by Howard Hanson, George Antheil, Henry Cowell, Roger Sessions, Roy Harris, Douglas Moore, and Virgil Thomson.
Free Forms 15. Opera and Music Drama 16. Contemporary Music See: “A Modernist Defends Modern Music” 17. Film Music See: “Tip to Moviegoers: Take Off Those Ear-Muffs” 18. From Composer to Interpreter to Listener APPENDIX I APPENDIX II APPENDIX III LIST OF RECORDED WORKS SUGGESTED BIBLIOGRAPHY FOR FURTHER READING INDEX 6. Copland, Aaron, and Vivian Perlis. Copland: 1900 through 1942. New York: St. Martin’s/Marek, 1984. xii, 402 p. ISBN 0312169620. C756 A3 1984. Until 1999, Copland: 1900 through 1942, based on interviews by Vivian Perlis with the composer and his associates, represented the most exhaustive autobiography/biography of Copland.
Music and Imagination. Cambridge: Harvard University Press, 1952. ix, 116 p. ISBN 0674589009 (cloth); 0674589157 (paper). C7. (Reprint—New York: New American Library, 1959. 127 p. ) PRIMARY SOURCES—COPLAND’S WRITINGS 39 Music and Imagination is the text of Copland’s six Charles Eliot Norton lectures, presented between 1951 and 1952 at Harvard University. Throughout the lectures, Copland examined the central role of imagination in the creation and perception of music: “The first half of the book treats of the musical mind at work in its different capacities as listener, interpreter, or creator.