Hostname: page-component-78c5997874-4rdpn Total loading time: 0 Render date: 2024-11-03T08:33:44.975Z Has data issue: false hasContentIssue false

The American Stravinsky: The Style and Aesthetics of Copland's New American Music, the Early Works, 1921–1938. By Gayle Murchison. Ann Arbor: University of Michigan Press, 2012.

Published online by Cambridge University Press:  05 December 2014

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Copyright
Copyright © The Society for American Music 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Aaron Copland, “Fantasy for Piano,” New York Times, 20 October 1957.

2 Copland, , “Composer from Brooklyn: An Autobiographical Sketch,” in Aaron Copland: A Reader: Selected Writings: 1923–1972, ed. Kostelanetz, Richard (New York: Routledge, 2004), xxxiiGoogle Scholar.

4 Crist, Elizabeth B., Music for the Common Man: Aaron Copland during the Depression and War (New York: Oxford University Press, 2005), 22Google Scholar.

5 Oja, Carol J., Making Music Modern: New York in the 1920s (New York: Oxford University Press, 2000), 363CrossRefGoogle Scholar.

6 Levy, Beth E., Frontier Figures: American Music and the Mythology of the American West (Berkeley: University of California Press, 2012), 311CrossRefGoogle Scholar.

7 See Starr, Larry, “The Voice of Solitary Contemplation: Copland's Music for the Theatre Viewed as a Journey of Self-Discovery,” American Music 20/3 (Autumn 2002): 297CrossRefGoogle Scholar.

8 See Pollack, Howard, Aaron Copland: The Life and Work of an Uncommon Man (Urbana: University of Illinois Press, 2000)Google Scholar; Oja, Making Music Modern; Fauser, Annegret, “Aaron Copland, Nadia Boulanger, and the Making of an American Composer,” Musical Quarterly 89 (2006): 524–54CrossRefGoogle Scholar; Bick, Sally, “In the Tradition of Dissent: Music at the New School for Social Research,” Journal of the American Musicological Society 66/1 (Spring 2013): 129–90Google Scholar; Hess, Carol, “Copland in Argentina: Pan Americanist Politics, Folklore, and the Crisis in Modern Music,” Journal of the American Musicological Society 66/1 (Spring 2013): 191250Google Scholar; and DeLapp-Birkett, Jennifer, “Aaron Copland and the Politics of Twelve-Tone Composition in the Early Cold War United States,” Journal of Musicological Research 27/1 (2008): 3162CrossRefGoogle Scholar.