ENGLISH

The American Stravinsky: The Style and Aesthetics of Copland's New American Music, the Early Works, 1921-1938

By Gayle Murchison

Book information

Publisher
University of Michigan Press
Year
2012
ISBN
0472125044, 9780472125043
Language
english
Format
PDF
Filesize
5 MB (5596328 bytes)
Pages
285\304
Topic
Art Music
Time added
2020-03-16 10:24:52
Music; History and Criticism; Musicology; American

Description

One of the country's most enduringly successful composers, Aaron Copland created a distinctively American style and aesthetic in works for a diversity of genres and mediums, including ballet, opera, and film. Also active as a critic, mentor, advocate, and concert organizer, he played a decisive role in the growth of serious music in the Americas in the twentieth century. In The American Stravinsky, Gayle Murchison closely analyzes selected works to discern the specific compositional techniques Copland used, and to understand the degree to which they derived from European models, particularly the influence of Igor Stravinsky. Murchison examines how Copland both Americanized these models and made them his own, thereby finding his own compositional voice. Murchison also discusses Copland's aesthetics of music and his ideas about its purpose and social function. Cover Title Page, Copyright, Dedication Acknowledgments Contents Tables Musical Examples Introduction Chapter One: Scherzo humoristique (Cat and Mouse): Copland’s American Petrushka and His Debt to Stravinsky Chapter Two: Boulanger and Compositional Maturity Chapter Three: Popular Music and Jazz: Authentic or Ersatz? Chapter Four: Paris and Jazz: French Neoclassicism and the New Modern American Music Chapter Five: Back in the United States: Popular Music, Jazz, and the New American Music Chapter Six: European Influence beyond Stravinsky and Les Six: Hába and Schoenberg Chapter Seven: Toward a New National Music during the 1930s: Copland’s Populism, Accessible Style, and Folk and Popular Music Chapter Eight: Copland’s Journey Left Chapter Nine: “Folk” Music and the Popular Front: El Salón México Chapter Ten: Billy the Kid Conclusion: A Vision for American Music . . . Notes Bibliography Index

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