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This text reassesses the legacy of one of America's best-loved composers at a pivotal moment - as his life and work shift from the realm of personal memory to that of history. The collection of 17 essays explores the stages of cultural change on which Aaron Copeland's long life unfolded.
Now in trade paperback: “The definitive guide to musical enjoyment” (Forum). In this fascinating analysis of how to listen to both contemporary and classical music analytically, eminent American composer Aaron Copland offers provocative suggestions that will bring readers a deeper appreciation of the most viscerally rewarding of all art forms.
A pioneering study of how American composer Aaron Copland helped shape the sound of the Hollywood film industry and introduced the moviegoing public to modern musical styles.
Appalachian Spring, with music by Aaron Copland and choreography by Martha Graham, counts among the best known American contributions to the global concert hall and stage. In the years since its premiere-as a dance work at the Library of Congress in 1944-it has become one of Copland's most widely performed scores, and the Martha Graham Dance Company still treats it as a signature work. Over the decades, the dance and the music have taken on a range of meanings that have transformed a wartime production into a seemingly timeless expression of American identity, both musically and visually. In this Oxford Keynotes volume, distinguished musicologist Annegret Fauser follows the work from its inception in the midst of World War II to its intersections with contemporary American culture, whether in the form of choreographic reinterpretations or musical ones, as by John Williams, in 2009, for the inauguration of President Barack Obama. A concise and lively introduction to the history of the work, its realization on stage, and its transformations over time, this volume combines deep archival research and cultural interpretations to recount the creation of Appalachian Spring as a collaboration between three creative giants of twentieth-century American art: Graham, Copland, and Isamu Noguchi. Building on past and current scholarship, Fauser critiques the myths that remain associated with the work and its history, including Copland's famous disclaimer that Appalachian Spring had nothing to do with the eponymous Southern mountain region. This simultaneous endeavor in both dance and music studies presents an incisive exploration this work, situating it in various contexts of collaborative and individual creation.
America is highly polarized around elections, but unelected actors make many of the decisions that affect our lives. In this lucid history, James R. Copland explains how unaccountable agents have taken over much of the U.S. government apparatus. Congress has largely abdicated its authority. “Independent” administrative agencies churn out thousands of new regulations every year. Courts have enabled these rulemakers to expand their powers beyond those authorized by law—and have constrained executive efforts to rein in the bureaucratic behemoth. No ordinary citizen can know what is legal and what is not. There are some 300,000 federal crimes, 98 percent of which were created by administrative action. The proliferation of rules gives enormous discretion to unelected enforcers, and the severity of sanctions can be ruinous to citizens who unwittingly violate a regulation. Outside the bureaucracy, private attorneys regulate our conduct through lawsuits. Most of the legal theories underlying these suits were never voted upon by our elected representatives. A combination of historical accident, decisions by judges and law professors, and self-interested advocacy by litigators has built an onerous and expensive legal regime. Finally, state and local officials may be accountable to their own voters, but some reach further afield, pursuing agendas to dictate the terms of national commerce. These new antifederalists are subjecting the citizens of Wyoming and Mississippi to the whims of the electorates of New York and San Francisco—contrary to the constitutional design. In these ways, the unelected have assumed substantial control of the American republic, upended the rule of law, given the United States the world’s costliest legal system, and inverted the Constitution’s federalism. Copland caps off his account with ideas for charting a corrective course back to democratic accountability.
Whose fault is it that the artist counts for so little in the public mind? Has it always been thus? Is there something wrong, perhaps, with the nature of the art work being created in America? Is our system of education lacking in its attitude toward the art product? Should our state and federal governments take a more positive stand toward the cultural development of their citizens? These are some of the provocative questions which Aaron Copland raises and answers in Copland on Music.
This candid, colorful memoir as told in the composer's own voice begins with Copland's Brooklyn childhood and takes us through his years in Paris, the creation of early works, years as the leader of young composers in New York City, Tanglewood and around the world."