Aaron Copland

2013 ◽  
pp. 131-148
Keyword(s):  
Aaron Copland

Aaron Copland and the American Legacy of Gustav Mahler by Matthew Mugmon

Notes ◽  
2021 ◽  
Vol 77 (4) ◽  
pp. 610-613
Author(s):  
Shih-Ni Prim
Keyword(s):  
Gustav Mahler ◽  
Aaron Copland

Israeli Folk Music

1994 ◽  
Keyword(s):  
National Identity ◽  
Folk Music ◽  
Folk Song ◽  
Aaron Copland ◽  
Darius Milhaud ◽  
Arthur Honegger ◽  
Kurt Weill

During the 1930s several of Europe's most distinguished composers received commissions to arrange Hebrew songs collected from early settlers in Israel and circulated on postcards. In this edition, fifteen songs appear in voice and keyboard arrangements by Aaron Copland, Paul Dessau, Arthur Honegger, Darius Milhaud, Ernst Toch, Stefan Wolpe, and Kurt Weill, making the volume a resource for performer and scholar alike. In addition, ten melodies are presented in facsimiles of the original postcards. An afterword is devoted to the significance of folk-song collecting and to the diverse uses of folk music during the period of nascent Israeli national identity.

The Best Years of Our Lives

2021 ◽  
Author(s):  
Aaron J. Johnson
Keyword(s):  
Aaron Copland ◽  
George Gershwin ◽  
War Experiences ◽  
The Common ◽  
Post War

Hugo Friedhofer’s widely acclaimed score to Best Years of Our Lives successfully evokes an American sound that simultaneously universalizes and authenticates this story of post-war readjustment. He accomplishes this through harmonic and rhythmic approaches indebted to Aaron Copland, but also borrows stylistic devices from jazz, as filtered through the likes of George Gershwin and other concert composers who used the jazz idiom. Friedhofer’s specific use of leitmotif in this film emphasizes the common over the specific, further unifying three stories and generalizing shared post-war experiences.

Homage to Aaron Copland

Tempo ◽  
1971 ◽  
pp. 2-4
Author(s):  
Wilfrid Mellers
Keyword(s):  
70Th Birthday ◽  
First Year ◽  
Aaron Copland

On 14 November last, Aaron Copland, born appropriately enough in the first year of a new century, celebrated his 70th birthday. If this makes him chronometrically an old man, it doesn't affect the ebullience of his spirit; nor indeed of his body, if we may judge from the bouncing elasticity with which he approaches the conductor's podium. The music's qualities are immediately manifest in the man, and they amount to a quintessence of America's positive virtues—which we need reminding of, at a time when America, in self-destructive turbulence, is bearing the brunt of the painful dis- or re-integration of our modern world's industrial technocracy.

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