This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
Abstract The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper "Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
Abstract This paper looks at the works and life of Aaron Copland. The direct appeal and irresistible imagination of Aaron Copland's works make him one of the defining voices of American music. His musical works ranged from ballet and orchestral music to choral music and movie scores. For the better part of four decades Aaron Copland was considered the premier American composer.
Abstract The paper describes the life and achievements of Aaron Copland, often described as the greatest American composer of the twentieth century, who has been credited with writing some of the most enduring works available to musicians today. The paper notes that Copland was very active in the American music scene, teaching, forming alliances, and even establishing his own publishing company and that his orchestral pieces, ballets, incidental works and changer pieces continue to delight audiences everywhere today. Specifically discussed in this paper is Copland's work 'Quiet City', based on Irwin Shaw's play of the same name which has become one of his most performed pieces. Even though it had a rocky beginning, the paper holds that 'Quiet City' is firmly in the music repertoire defined as a monumental piece.
From the Paper "By 1914, Copland started his formal music training, taking private piano lessons from Leopold Wolfsohn in Brooklyn. His debut was in 1917 in the auditorium of the Wanamaker Department Store in downtown Manhattan, performing Paderewski's Polonaise in B. It was also in 1917 that Copland began his formal study of harmony and counterpoint. Copland studied with a student of Dvorak, Rubin Goldmark. During his four years with Goldmark, Copland wrote many short pieces for various piano ensembles."
Abstract This paper discusses some of the composer Aaron Copland's well-known compositions and analyzes his contribution to modern classical music. It includes an autobiographical account of Copland's life growing up in New York. It details his music and gives examples of his famous ballets and scores. It also describes his main influences in the music world. Finally, it details his great contribution with works such as: "Rodeo", and "Fanfare for the Common Man" making him one of the most loved American composers of all time.
From the Paper "Popular jazz and be-bop music heavily influenced his early works. As he matured, he began to compose strictly in the modern classical style, and most of his work falls under this style. His music most often celebrated the unique American character that he found so appealing. His ballets and scores included ?Rodeo,? ?Appalachian Spring,? ?A Lincoln Portrait,? ?Theme for the Common Man,? and ?Billy the Kid.? He also wrote numerous piano concertos, smaller pieces, and two sets of ?Old American Songs,? which were arrangements of traditional folk tunes "that became so popular in their piano and orchestral versions as to eclipse the original melodies on which they were based" (Hampson). At the height of his popularity and career in 1944, Copland's score for "Appalachian Spring" won the Pulitzer Prize for music. Yet, he continued to write for thirty years after this apex of his work. "
Abstract This paper introduces two composers, George Gershwin and Aaron Copland, who both worked in the early 20th century. Specifically, it discusses opinion about their music and evaluates why these two composers are so quintessentially American. It looks at how George Gershwin wrote popular music and how early in his career was dismissed because he was not a "classical" composer, although his music is both classical and popular. It shows how Aaron Copland, on the other hand, also wrote popular music, especially for films but how he is better known for his classical compositions and American ballets.
From the Paper "Listening to Gershwin's compositions is always a treat because I hear something different each time I listen. "Rhapsody in Blue" has so many melodies and themes going on, that all come together in the recognizable theme that winds its way through the music, that I can listen to it a hundred times and still smile as it comes to a climatic close. The alternating orchestrations and beats, the lyrical and romantic qualities of the music, and the pictures it conjures up are all pleasurable and enduring, just like the music itself. While "Rhapsody" may be his most enduring piece, certainly many others embody his graceful and lyrical style. The "Concerto in F for Piano and Orchestra" is a darker piece, which seems to evoke more images of the night in it, and a stronger, even more vital rhythm and beat than "Rhapsody," but it is clear the two pieces were written by the same composer. They share the same lyrical and lilting piano style, staccato trumpet solos, and that same slightly jazzy style which brings up pictures of a busy New York street on a Saturday night. Gershwin is a joy to listen to because his pieces are uplifting and make you want to listen to more."
Tags: classical, compositions, ballets, rhapsody, blue
Abstract For over seventy years, Elliott Carter has been considered by many as one of the most important American composers of the twentieth century. This paper deals with the two distinct periods in Elliott Carter's career, using 1950 as a turning point. Several important works from each period are presented along with Carter's thoughts and his critics' reaction to his dramatic stylistic change. Other areas dealing with issues relating to contemporary music during from 1930 to 1980 are included.
From the Paper "Out of many conclusions that can be drawn from his music, only one clearly stands out above the rest. This aspect is the dramatic change in his philosophical approach to composition in the 1950?s. One could even discuss this transformation at great length by noting the substantial differences between works such as Holiday Overture (1944) and String Quartet No. 1 (1950). With these comparisons (in addition to comparisons between other works), one can conclude that Elliott Carter has two distinctive periods. The first is an early period, extending from around 1936 to 1949, which comprises works written predominately in a tonal and accessible ?style.? The second, or late, period, extending from 1950 to the present, gives birth to new harmonic and rhythmic languages that would not only define his mature works, but also seperate him from other modernists of his day. While it is important to explore all of his works from both periods with comprehensive detail, the primary focus here is to provide insight into his artistic metamorphosis by briefly illustrating the concepts, retrospective thoughts, and reception of his major works."
Abstract In this article, the writer examines the theory of the existence of three different dimensions of listening. The writer describes the three different dimensions as purely musical, sensuous and expressive. In this regard, the writer uses Sting's song "Fields of Gold," in order to demostrate the theory. The writer discusses the appreciation of music in this way.
From the Paper "Aaron Copland argues that we listen to music on three planes, the sensuous the expressive and the sheerly musical. I tried to listen on all three planes to Sting's song 'Fields of Gold' which I had heard many times on the radio and as the third song on his CD Ten Summoner's Tales and listening to it this way gave me a whole new appreciation for his artistry. Copland says that the first plane the sensuous is just enjoying the music without thinking about it. That's how ... "
