Music for the Common Man : Aaron Copland during the Depression and War: Aaron Copland during the Depression and WarOxford University Press, USA, 27 Okt 2005 - 272 halaman In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Salon Mexico, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound--the social and political perspective that might be heard within these familiar pieces--has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, political, and cultural currents of the Great Depression and Second World War. Musicologist Elizabeth Crist argues that Copland's politics never merely accorded with mainstream New Deal liberalism, wartime patriotism, and Communist Party aesthetic policy, but advanced a progressive vision of American society and culture. Copland's music can be heard to accord with the political tenets of progressivism in the 1930s and '40s, including a fundamental sensitivity toward those less fortunate, support of multiethnic pluralism, belief in social democracy, and faith that America's past could be put in service of a better future. Crist explores how his works wrestle with the political complexities and cultural contradictions of the era by investing symbols of America--the West, folk song, patriotism, or the people--with progressive social ideals. Much as been written on the relationship between politics and art in the 1930s and '40s, but very little on concert music of the era. Music for the Common Man offers fresh insights on familiar pieces and the political context in which they emerged. |
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Halaman 6
... aesthetic orientation, a compositional attitude that focused on accessibility and conceived of the musical work as a functional as well as artistic creation. These closing paragraphs of his autobiographical sketch later caused Copland ...
... aesthetic orientation, a compositional attitude that focused on accessibility and conceived of the musical work as a functional as well as artistic creation. These closing paragraphs of his autobiographical sketch later caused Copland ...
Halaman 7
... aesthetic accessibility and social relevance, expressed within and informed by the cultural and political contexts of the Great Depression and World War II. It has long been recognized that Copland's accessible manner was, in some ...
... aesthetic accessibility and social relevance, expressed within and informed by the cultural and political contexts of the Great Depression and World War II. It has long been recognized that Copland's accessible manner was, in some ...
Halaman 9
... aesthetic formalism after World War II. But a closer look at the associations between political ideology and aesthetic expression in his music from the era of Depression and war makes clear that Copland's turn toward “imposed simplicity ...
... aesthetic formalism after World War II. But a closer look at the associations between political ideology and aesthetic expression in his music from the era of Depression and war makes clear that Copland's turn toward “imposed simplicity ...
Halaman 10
... aesthetic judgment and cultural authority could not rest wholly with the creator. Thus, the ideal of “imposed simplicity” conceives of the artist as a cultural worker, as one who produced music to be consumed as well as appreciated. As ...
... aesthetic judgment and cultural authority could not rest wholly with the creator. Thus, the ideal of “imposed simplicity” conceives of the artist as a cultural worker, as one who produced music to be consumed as well as appreciated. As ...
Halaman 11
... aesthetic structures are not equivalent. Adopting Denning's terminology, I distinguish between two expressions of political activity: first, the conscious, chosen involvement in such external forms of commitment as party affiliation or ...
... aesthetic structures are not equivalent. Adopting Denning's terminology, I distinguish between two expressions of political activity: first, the conscious, chosen involvement in such external forms of commitment as party affiliation or ...
Edisi yang lain - Lihat semua
Music for the Common Man: Aaron Copland during the Depression and War Elizabeth B. Crist Pratinjau terbatas - 2009 |
Music for the Common Man: Aaron Copland during the Depression and War Elizabeth B. Crist Pratinjau terbatas - 2009 |
Istilah dan frasa umum
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