By Marta Robertson
Aaron Copland (1900-1990) is mostly thought of the preferred and famous composer of yankee artwork tune, 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 overview of vital study developments that is meant to fill a void and to signify instructions for additional study. The advisor additionally presents a bit discussing Copland's interdisciplinary pursuits, comparable to ballet and picture paintings, in addition to a finished bibliography of writings approximately Copland and his song.
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Additional info for Aaron Copland: A Guide to Research (Composer Resource Manuals)
Surveying the past fifteen years, Copland chronicles the contributions that he, Roy Harris, William Schuman, George Gershwin, and Bernard Herrmann made in the genres of opera, film, radio, ballet, chamber, and orchestral music. ” 21. ” 1959. MS. 197/13, Aaron Copland Collection. Music Division, Library of Congress, Washington, DC. S. S. ” 22. ) Despite the development of a “vital school” of American composers over the previous thirty years, “serious” music did not receive the same recognition as literature and the other arts.
In addition to reporting on the reception of the program by audience and orchestra, Copland describes the musical superstructure in Israel, observing that much had been accomplished since his first visit in 1951. ” 11. ” The Instrumentalist, 4 (November 1985): 66–69. ” In the article, Copland briefly discusses topics such as the use of jazz in the 1920s to create a recognizably American 46 AARON COPLAND: A GUIDE TO RESEARCH voice, El Salón México, A Lincoln Portrait, A Fanfare for the Common Man, Appalachian Spring, composing for films, conducting and Leonard Bernstein, and music education in the United States.
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. B are indicated below. Contents Music and Imagination PREFACE INTRODUCTION Part One: Music and the Imaginative Mind “The Gifted Listener” See: “The Gifted Listener” “The Sonorous Image” “The Creative Mind and the Interpretive Mind” See: “The Creative Mind and the Interpretive Mind” Part Two: Musical Imagination in the Contemporary Scene “Tradition and Innovation in Recent European Music” “Musical Imagination in the Americas” “The Composer in Industrial America” POSTSCRIPT 3.