... integrated than the American, notwithstanding its dogma and abuses. The odyssey of Aaron Copland, whose efforts to “serve the state” musically resulted in a Red Scare backlash, casts further perspective on the US-Soviet juxtaposition. Cold War Maretskaya Vera music Cold War Stalin Music Prize Frolova...

... Committee HUAC Hughes Langston Miller Arthur Oja Carol Parker Dorothy Pins and Needles Red Channels Robinson Earl Shaw Irwin Lincoln Portrait Federal Project One Marc Blitzstein Aaron Copland House Un-American Activities Committee (HUAC) Populist versus political music The Renaissance lasted...

...This chapter analyzes the two most celebrated American composers of “serious” music, Aaron Copland and Leonard Bernstein, whose music today is still most regularly programmed not just in the United States but around the world. Not widely known during the homophobic Fifties is the now well...

... The Brecht and Weill Welles Orson Federal Bureau of Investigation FBI Bernstein dossier of John Reed Society Harvard David Prall Aaron Copland modernist movement Marc Blitzstein In 1982, at the age of sixty-four, Leonard Bernstein included in his collection of his writings, Findings...

...Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, Fugue and Riffs as a case study, this chapter shows how patterns of usage in Copland’s...

... character in Guardians of the Galaxy symphonic idioms Burkholder Peter communism Copland Aaron Copland Aaron works of Cultural and Scientific Conference for World Peace Eisler Hanns Life Magazine McCarthyism modernist styles propaganda Red Channels publication row composition simplicity...

...This chapter proposes that critics of music by the Mexican composer Carlos Chávez rejected difference and embraced sameness by classicizing the Indianist qualities of his works. Opposing Chávez’s style to Stravinskian neoclassicism, Paul Rosenfeld, Henry Cowell, and Aaron Copland...

... William Bennett Robert Russell Reese Gustave Rockefeller Foundation Schirmer Gustave Stravinsky Igor Barber Samuel Foss Lukas Harvard Radcliffe Choral Series Ickes Harold U S Secretary of the Interior 1933–46 Musical Quarterly Sessions Roger Waring Fred Aaron Copland Serge Koussevitzky Sarah...

... to the Gallows Howard James Newton Mela On the Waterfront Pather Panchali Danna Mychael The Hulk Elizabeth The Golden Age Rangeela Roja Warriors of Heaven and Earth The Adventures of Robin Hood Eisler Hanns Modernism Tangos! The Exile of Gardel Alexander Nevsky Georges Auric Aaron Copland Miles...

... as to meet wartime needs. Musicians featured in this chapter are the composers Samuel Barber, Aaron Copland, Ulysses Kay, and Kurt Weill; performers such as Andre Kostelanetz, Eugene List, Yehudi Menuhin, and Lily Pons; and cultural mediators such as Harry Futterman, Paul Henry Lang, and Deems Taylor. Barber...

... Neighbor,” music therapy music appreciation propaganda racial uplift radio recording ban social uplift V-Discs Marc Blitzstein Aaron Copland Henry Cowell Elmer Davis Olin Downes Bess Lomax Hawes Madame Chiang Kai-shek Chauncey Lee Mobley Lushanya James Petrillo Harriet Ayer Seymour...

... Out, Sweet Land!, a Broadway production by Walter Kerr and Elie Siegmeister—and composition. A well-known example of the latter is Aaron Copland’s Rodeo. The third approach led to a number of strategies for Americanizing European opera and for employing it for “racial uplift...

... with Aaron Copland, who arranged for him to get a scholarship with the famed teacher Nadia Boulanger in Paris. Boulanger steered Strouse toward the musical theater, and he returned stateside. In the summer of 1952 he took a job at Green Mansions, the adult camp from which Harold Rome had emerged. Working...

... Charles Wakefield Cadman Percy Goetschius Aaron Copland Lou Harrison Henry Cowell George Gershwin Henry Bellaman Roy Harris ultramodernism neoromanticism Mattijs Vermeulen Kaikhosru Soranji Lawrence Gilman In January 1921 a prominent insurance executive in New York City sent copies of a piano...

...This chapter traces a new history of midcentury musical modernism in the U.S. It suggests that political and cultural factors influenced compositional style and regime shifts. It highlights the decline of tonal Americana and of Aaron Copland's career as Dean of American Music and discusses...

... challenging, however. Carl Ruggles loved and respected Henry but bristled with prejudices, insecurities, and relentless self-promotion that cost him many friends. There was also that friction between Henry and Aaron Copland. Henry also had Russian friends, but they became inaccessible after 1936. Of his new...

... distinguished European friends was Arnold Schoenberg. Henry found that he had not lost the confidence of old friends like Charles Seeger and his wife Harmony, Alvin Johnson, Judy and Armitt Brown, Cary de Angulo, and Lewis M. Terman. Relations with Aaron Copland and Edgard Varèse had steadily improved...

...This chapter examines the Cold War experience of composer Aaron Copland. It argues that after suffering at the hands of Senator Joseph McCarthy and his cronies in the early 1950s, Copland reoriented himself. He not only turned away from musical Americanism as a composer but also took advantage...

... Guthrie and Tex Ritter, as something aspiring to higher artistic status (music by Aaron Copland or Roy Harris), or somewhere in between. Richard Rodgers also needed to deal with his longtime but collapsing partnership with Lorenz Hart. Even after Helburn had fixed on Rodgers and Hammerstein, in summer...

... Dmitri Shostakovich Aaron Copland George Rochberg John Corigliano Luigi Nono György Ligeti Arvo Pärt Wolfgang Rihm Popular music In spite of modernism’s aesthetics of objectivity, both the projection and the perception of subjectivity have endured. Having grown accustomed to hearing composers...