By Marta Robertson
Aaron Copland (1900-1990) is mostly thought of the most well-liked and famous composer of yank artwork tune, and but little scholarly recognition has been paid to Copland because the Nineteen Fifties. This quantity starts with a portrait of the composer and an evaluate of vital examine tendencies that's meant to fill a void and to indicate instructions for additional study. The advisor additionally presents a bit discussing Copland's interdisciplinary pursuits, corresponding to ballet and picture paintings, in addition to a complete bibliography of writings approximately Copland and his tune.
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Extra resources for Aaron Copland: A Guide to Research (Composer Resource Manuals)
Musical Texture See: “Listening to Polyphonic Music” 9. Musical Structure 10. Fundamental Forms—I. Sectional Form 11. Fundamental Forms—II. Variation Form 12. Fundamental Forms—III. Fugal Form 44 AARON COPLAND: A GUIDE TO RESEARCH 13. Fundamental Forms—IV. Sonata Form See: “The Modern Symphony” 14. Fundamental Forms—V. 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.
D. MS. 197/1, Aaron Copland Collection. Music Division, Library of Congress, Washington, DC. In this incomplete handwritten manuscript, Copland notes that composers, as “individuals or as a professional group,” had yet to address the “new dimensions” that the long-play record had added to composition. 9. : Foreword to Modern Music Reprints of Articles about I. d. MS. 197/2, Aaron Copland Collection. Music Division, Library of Congress, Washington, DC. See: Foreword to Stravinsky in Modern Music (1924–1946).
In reviewing the piano-vocal score for Benjamin Britten’s chamber opera, The Rape of Lucretia, Copland pronounces it better than Britten’s first opera, Peter Grimes—an important trajectory, since Britten was still in his early thirties. Copland assesses Britten’s compositional talents, including his “richness of melodic invention,” which was unlike the speech rhythms set by Marc Blitzstein or Virgil Thomson. 37. ” 38. ” 39. ” 40. ” Music and Musicians, 9 (November 1960): 18, 33.
Aaron Copland: A Guide to Research (Composer Resource Manuals) by Marta Robertson