By Marta Robertson
Aaron Copland (1900-1990) is mostly thought of the most well-liked and recognized composer of yankee artwork track, and but little scholarly cognizance has been paid to Copland because the 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 extra learn. The advisor additionally presents a piece discussing Copland's interdisciplinary pursuits, akin to ballet and picture paintings, in addition to a entire bibliography of writings approximately Copland and his song.
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Extra info for Aaron Copland: A Guide to Research (Composer Resource Manuals)
A. See: “The Composer in America, 1923–1933” The Ives Case See: In part “One Hundred and Fourteen Songs” Roy Harris Sessions and Piston Thomson and Blitzstein PRIMARY SOURCES—COPLAND’S WRITINGS 41 See: “Marc Blitzstein” Composer from Mexico: Carlos Chávez See: “Carlos Chávez—Mexican Composer” Composer from Brooklyn: An Autobiographical Sketch See: “Composer from Brooklyn” and “Composer from Brooklyn: An Autobiographical Sketch” III. The Present Day The Generation of the Fifties The Music of Chance See: “The Music of Chance” New Electronic Media See: “New Electronic Media” INDEX 4.
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. The book alternates contextual “Interlude” chapters and interviews with Copland’s associates, written by Perlis, with discussions by Copland of his life and compositions. The book is easily readable, with Copland’s sections giving a glimpse at his personality. Although Copland discussed every composition in chronological order, detailing biographical and compositional influences, there is no theoretical analysis of the compositions.
European Festival and Premières: A Glance Backward: Zurich: 1926 See: “Playing Safe at Zurich” Baden-Baden: 1927 See: “Forecast and Review: Baden-Baden, 1927” Paris: 1928 See: “Stravinsky’s Oedipus Rex” London: 1931 See: “Contemporaries at Oxford: 1931” 38 AARON COPLAND: A GUIDE TO RESEARCH Berlin: 1932 See: “Stravinsky and Hindemith Premieres” 3. The Composers of South America: 1941 See: “The Composers of South America” SECTION THREE: The Reviewing Stand 1. Music By: Darius Milhaud (1947) See: “The Art of Darius Milhaud” Benjamin Britten (1947) See: “Benjamin Britten: The Rape of Lucretia, an Opera in Two Acts” Stefan Wolpe (1948) See: “Stefan Wolpe: Two Songs for Alto and Piano from The Song of Songs” Leon Kirchner (1950) See: “Leon Kirchner: Duo for Violin and Piano” William Schuman (1951) See: “Current Chronicle: United States, New York” 2.