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
... Note on musical examples : For ease of reading , orchestral examples have fre- quently been reduced , and all have been set at concert pitch . In keeping with Copland's own practice , horn parts have been set without signatures ...
... Note on musical examples : For ease of reading , orchestral examples have fre- quently been reduced , and all have been set at concert pitch . In keeping with Copland's own practice , horn parts have been set without signatures ...
Halaman
... Cultural Front 15 2 Expanding America 43 3 Creating Community 71 • " The Dancing of an Attitude " III 5 In Wartime 147 This page intentionally left blank Music for the Common Man . Conclusion 193 Notes 203 Index 245 Contents.
... Cultural Front 15 2 Expanding America 43 3 Creating Community 71 • " The Dancing of an Attitude " III 5 In Wartime 147 This page intentionally left blank Music for the Common Man . Conclusion 193 Notes 203 Index 245 Contents.
Halaman 3
... notes of doubt , fear , loneliness ” emerging even before the stock market crash in .5 The composer Aaron Copland also noted the passing of one age and por- tent of another . On returning to New York City in after three ...
... notes of doubt , fear , loneliness ” emerging even before the stock market crash in .5 The composer Aaron Copland also noted the passing of one age and por- tent of another . On returning to New York City in after three ...
Halaman 25
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Halaman 33
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Isi
3 | |
1 Communism and the Cultural Front | 15 |
2 Expanding America | 43 |
3 Creating Community | 71 |
4 The Dancing of an Attitude | 111 |
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
Aaron Copland Abraham Lincoln aesthetic Agnes de Mille aligned American Music Appalachian Spring artists audience ballet Billy the Kid Burke capitalism Carlos Chávez CCLC Charles Seeger Chávez City Clurman Collective Communist Party composer concert contemporary context Copland's music Cowgirl CPUSA Cuban Cultural Front dance Danzón Danzón Cubano democracy democratic Denby Denning Depression Documentary economic El Salón México explained Fanfare film Frontier Gebrauchsmusik Harold Clurman Henry History Howard Pollack Ibid ideal ideology idiom images individual industrial Kostelanetz Koussevitzky labor left-wing politics leftist Lincoln Portrait mass melody Mexican Mexico Modern Music movement Mumford Music League narration National notes opening orchestral performance Piano piece Pioneer Popular Front premiere progressive Progressivism quoted radical recalls revolutionary rhythmic rhythms Rodakiewicz Rodeo Roosevelt rural Salón México scenario score Second Hurricane seems social solo song Soviet style symbolic theme Third Symphony tion traditional tune University Press urban Wallace West Workers World writing York