Aaron Copland: A Guide to Research (Composer Resource by Marta Robertson

By Marta Robertson

Aaron Copland (1900-1990) is usually thought of the most well-liked and famous composer of yankee artwork song, 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 evaluate of important learn traits that is meant to fill a void and to indicate instructions for extra learn. 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 song.

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Written from the perspective of a composer, rather than an educator, Copland explained: “The composer has something vital at stake. ” Chapters 16 and 17 were added for the 1957 edition. B are indicated below. CONTENTS What to Listen for in Music INTRODUCTION AUTHOR’S NOTE FOR THE 1957 EDITION PREFACE ACKNOWLEDGMENTS 1. Preliminaries 2. How We Listen See: “How We Listen” 3. The Creative Process in Music See: “The Creative Process in Music” 4. The Four Elements of Music—I. Rhythm 5. The Four Elements of Music—II.

Generally, Copland amended articles with postscripts from 1967 or footnotes correcting dated information. Occasionally he omitted text that was no longer appropriate. B are indicated below. See: Our New Music; Leading Composers in Europe and America. Contents The New Music, 1900–1960 PREFACE PREFACE TO THE REVISED EDITION ACKNOWLEDGMENTS I. Survey of Contemporary European Composers (1900–1960) 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 Foreground—Before 1914 Schoenberg’s Expressionism Stravinsky’s Dynamism Béla Bartók Music between the Wars (1918–1939) 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 Depression Years Dodecaphonic Developments Stravinsky’s Conversion II.

Garden City, NY: Doubleday, 1960. 280 p. ISBN 0393001989. C48. W. Norton, 1963. C78 1963. 285 p. ISBN 0306707756. ” Collectively, the essays illustrate the breadth of Copland’s involvement in contemporary and American music. B, except for “1959: Postscript for the Generation of the Fifties,” which was first published in this collection. ) Contents Copland on Music ACKNOWLEDGMENTS FOREWORD SECTION ONE: 1. Three Talks The Pleasures of Music See: The Pleasures of Music: An Address at the University of New Hampshire, April 16, 1959 Creativity in America PRIMARY SOURCES—COPLAND’S WRITINGS 37 See: “Creativity in America” Music as an Aspect of the Human Spirit See: “Music: As an Aspect of the Human Spirit” 2.

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