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| | Aaron Copland - definition of Aaron Copland in Encyclopedia |
 | | Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer of modern tonal music as well as film music. | | | Several of the themes he created are encapsulated in the suite, Music for Movies, and his score for the film of Steinbeck's novel, The Red Pony, one of Copland's favourite scores, was given a suite of its own. | | | Copland's music achieved a difficult balance between simple and effective composition. |
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http://encyclopedia.laborlawtalk.com/Aaron_Copland
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| | Aaron Copland - Simple English Wikipedia |
| | Aaron Copland was an America modern music composer. | | | Copland used music from American cowboy songs in this work. | | | Copland's music included parts of American folk songs and songs popular during the American Civil War. |
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http://simple.wikipedia.org/wiki/Aaron_Copland
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| | Featured Subject: Aaron Copland |
| | From the album "Copland the Modernist," Copyright 1996 BMG Music | | | In this assessment of the career of Copland, Times music critic Donal Henahan says that even if Copland's music is not immortal, his efforts on behalf of popularizing modern music are. | | | Copland argues that symphony orchestras, striving to attract an audience, are relying too much on standard repertory and not doing enough to promote a new generation of composers. |
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http://www.dl.ket.org/humanities/music/copland.htm
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| | American Masters . Aaron Copland PBS |
| | Copland believed that through this music, he could find his way to a more popular symphonic music. | | | Through these various commitments to music and to his country, Aaron Copland became one of the most important figures in twentieth-century American music. | | | From jazz he hoped to draw the inspiration for a new type of symphonic music, one that could distinguish itself from the music of Europe. |
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http://www.pbs.org/wnet/americanmasters/database/copland_a.html
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| | Aaron Copland |
| | Copland sought to develop the American musical vernacular in the era of post-Wagnerianism, when excess and bombast were eschewed in favor of cleaner lines, asymmetrical melodies, and rhythmic experimentation. | | | Copland’s output was large -- he wrote songs, ballets, symphonies, and a host of smaller works which he categorized with descriptors like "episodes" and "sketches". | | | Copland’s is the only of these fanfares to survive in the repertory (although I’ve always wanted to hear the others; I wonder if they’re recorded anywhere). |
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http://www.greenmanreview.com/cd/cd_va_copland_sedinger_07_03.html
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| | Rodeo (ballet) - Wikipedia, the free encyclopedia |
| | In 1946 Copland arranged just the "Hoe-Down" portion of the ballet for string orchestra, and later that year arranged the same piece for violin and piano. | | | In 1972 the rock band Emerson, Lake and Palmer recorded a version of "Hoedown" (note slightly altered spelling) for the album Trilogy, and the piece became a staple of the band's live shows. | | | It was originally created for a string orchestra but he later modified it for a full symphony orchestra. |
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http://en.wikipedia.org/wiki/Rodeo_(ballet)
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| | - Classical Music Dictionary - Free MP3 |
| | Copland's Piano Variations (1930) is the most influential of his many solo and chamber works. | | | Copland (born in Brooklyn, N.Y., nov. 14, 1900) began serious musical study in his early teens. | | | Outstanding among his orchestral scores are the jazzy Piano Concerto (1927) and Music for the Theatre (1925), the Clarinet Concerto (1948) written for Benny Goodman, El Salon Mexico (1936), the Symphony n. |
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http://www.karadar.it/Dictionary/copland.html
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| | Aaron Copland, What to listen in Music |
| | I have listened to this ballet music, El Salόn México, which was written in 1936 by Copland. | | | Aaron Copland was interested in creating a uniquely American musical sound for the twentieth century. | | | In 1942, Aaron Copland composed Lincoln Portrait, a musical tribute to a mild-mannered yet monumental president who is seen as personifying American democracy. |
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http://www.uh.edu/hti/cu/2004/v05/04.htm
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| | Aaron Copland American Composer |
| | Copland's suggestions for listening to music intelligently will bring you a deeper appreciation of the most rewarding of all art forms. | | | His musical works ranged from ballet and orchestral music to choral music and movie scores. | | | Copland learned to play piano from an older sister. |
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http://www.lucidcafe.com/library/95nov/copland.html
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| | Aaron Copland - classical and film composer |
| | Aaron Copland was also an influence on the music of other film composers who embraced both classical and popular idioms including Leonard Bernstein, Bernard Herrmann, Elmer Bernstein and Alex North. | | | In the realm of film music, Copland received two Oscar nominations, for "Of Mice and Men" and "Our Town". | | | There are many CDs available containing music by Aaron Copland but the following showcase his best works: |
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http://www.mfiles.co.uk/composers/Aaron-Copland.htm
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| | MUSICMATCH Guide: Aaron Copland |
| | Copland's sheer popularity and iconic status are such that his music has transcended the concert hall and entered the popular consciousness; it both accompanies solemn and joyous celebrations the world over (Fanfare for the Common Man) and punctuates the familiar words "Beef: It's What's for Dinner!" (Rodeo) for millions of television viewers. | | | Boulanger's performance of Copland's 1924 Organ Symphony with Koussevitzky was the beginning of a friendship between the conductor and composer that led to Copland teaching at the Berkshire Music Center (Tanglewood) from 1940 until 1965. | | | While Copland gradually became less prolific from the mid-1950s on, he continued to experiment and explore "fresh" means of musical expression, including a highly individual adoption of 12-tone principles in works like the Piano Fantasy and Connotations for orchestra. |
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http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=1088316&TMPL=LONG
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| | Independent Gay Forum - Aaron Copland at 100 |
| | America's most highly regarded Twentieth Century composer of classical music, Aaron Copland, was beloved for his skill at refining into art music the native sounds of America, from Shaker and Appalachian music to rodeo songs and jazz. | | | Copland has a particular interest for us beyond the merits of his music because he was gay. | | | The music he created was easily distinguishable from its European counterparts by its folk-style melodies, open harmonies, bright orchestral colors, and the often syncopated, jazzy rhythms. |
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http://www.indegayforum.org/authors/varnell/varnell42.html
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| | [No title] |
| | CBS/Sony has reissued all Copland's recording of his own orchestral music, filling in the gaps with Bernstein readings. | | | Copland brought a certain authority to the scores in his own recordings, although he worked with underrehearsed orchestras. | | | Leonard Bernstein is probably the finest conductor of Copland's music on disc, and any of his versions on CBS/Sony or Deutsche Grammophon are worth hearing for their vigor and insight. |
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http://www.azstarnet.com/public/packages/reelbook/153-4002.htm
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| | Aaron Copland - Discography |
| | Copland: Music for the Theater; Piano Concerto; more | | | The Copland Collection: Early Orchestral Works (CD #1: 1923 - 1928 and CD #2: 1929 - 1935) | | | Copland: Appalachian Spring and El Salón México and Dance from "Music for the Theatre" |
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http://www.sonyclassical.com/artists/copland/disc.html
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| | Toccata Press: THE MUSIC OF AARON COPLAND |
| | The Music of Aaron Copland, which is profusely illustrated with music examples and photographs, includes a conversation on the piano music with Aaron Copland and Leo Smit and also features sketches of Copland in rehearsal by Milein Cosman. | | | With a talk on the piano music between Aaron Copland and Leo Smit | | | Demy octavo ~ Illustrated ~ 164 music exx. |
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http://www.toccatapress.com/books/bookdetail.asp?ID=32
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| | Library Releases Copland Collection Online |
| | Today, Aaron Copland's music is well known and performed to audiences throughout the world. | | | Heiss is a music specialist and co-curator of the Aaron Copland Collection in the Music Division. | | | To preserve the look of the original documents in the electronic version, the black-and-white photographic materials have been scanned in a grayscale format, and the other materials, including color photographic materials, were scanned in color to capture the various tones of the different pencils and ink in the music sketches, correspondence and writings. |
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http://www.loc.gov/loc/lcib/0011/copland.html
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| | American Composers Orchestra - David Raksin Remembers His Colleagues |
| | He was thus in a position to understand what it takes to compose music for films, which is more than can be said for the academics and composers of concert works who, motivated by something less than objectivity, have relentlessly badmouthed film music. | | | While still a child he began to study piano; subsequently he had lessons in harmony and counterpoint with composer Rubin Goldmark and began to compose. | | | One day the fine musician Arthur Morton and I took him to a pair of concerts, mostly contemporary music, at the First Congregational Church. |
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http://www.americancomposers.org/raksin_copland.htm
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| | Aaron Copland and His World |
| | The festival’s programs will explore the world of Copland’s childhood; the Paris of the 1920s and the influence of Nadia Boulanger, Igor Stravinsky, and trans-atlantic jazz; the populism of the 1930s; the folk music revival; and the widening gulf between radical modernism and more conservative trends during the 1950s and 1960s. | | | His music and personality cut across the traditional boundaries of the concert hall; he was influenced by jazz, worked in Hollywood, and collaborated with theater and dance. | | | Biography and history form a natural partnership in this year’s Bard Music Festival. |
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http://www.bard.edu/bmf/2005/copland
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| | Kennedy Center: Biographical information for Aaron Copland |
| | The young Copland persevered, however, and under the instruction of Nadia Boulanger, a well-known teacher of harmony, he continued to compose. | | | Understanding the Music: Copland - Symphony No. 3 | | | The celebration began in April 1985 with a performance of his "Symphony No. 3" by the Philadelphia Orchestra and ended with another performance of the symphony by the National Symphony in Washington in May of the following year. |
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http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showIndividual&entitY_id=3712&source_type=A
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| | Aaron Copland -- Britannica Concise Encyclopedia - The online encyclopedia you can trust! |
| | His books include What to Listen for in Music (1939), Music and Imagination (1952), Copland on Music (1960), and The New Music, 1900–60 (1968). | | | Typical too of the Copland style are two major works that were written in time of war—Lincoln Portrait (1942), for speaker and chorus, on a text drawn from Lincoln's speeches, and Letter from Home (1944), as well as the melodious Third Symphony (1946). | | | Smaller ensembles than full symphony orchestras, these groups specialize in music of the 17th and 18th centuries and in contemporary compositions often written expressly for groups of this size. |
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http://www.britannica.com/ebc/article-9026189
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| | Aaron Copland's Biography |
| | It took Copland about a year to finish the music. | | | These television shows were designed to teach his audience basic information that will increase their understanding about classical music and their listening enjoyment. | | | The rhythms and melodies are American-sounding and suggest barn dances, fiddle tunes, and revival hymns. |
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http://www.geocities.com/Heartland/Fields/8616/composerfiles/copland.html
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| | Aaron Copland educational resources |
| | For each of the Aaron Copland compositions which the Field Band has performed, the Concert Band has assembled a list of performance suggestions from each section. | | | General performance tips and techniques for the band music of Aaron Copland. | | | The U.S. Army Field Band and Soldiers' Chorus have recently released their latest reference recordings, entitled The Legacy of Aaron Copland. |
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http://www.army.mil/fieldband/pages/copland/copland.html
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| | Naxos.com, Your World of Classical Music |
| | He lived a long and productive life, one that spanned almost the entire century, and worked not only as a composer, but as a conductor, pianist, teacher, author, concert promoter and generous friend to music. | | | Works like the Third Symphony, with its Fanfare for the Common Man, Rodeo, Billy the Kid, Appalachian Spring, the Twelve Poems of Emily Dickinson and El Salon Mexico showed American composers that it was possible to create a sound that was both nationalistic and musically sophisticated. | | | COPLAND: Piano Sonata / Piano Fantasy / Piano Variations |
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http://www.naxos.com/mainsite?pn=Composers&char=C&ComposerID=224
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| | Aaron Copland |
| | Copland was also among the founders of the Yaddo Festivals, the Arrow Music Press and the American Composers Alliance. | | | He also authored several books including What to Listen for in Music (1939), Music and Imagination (1952), and Copland on Music (1960). | | | The Music of Aaron Copland - Neil Butterworth, Universe Books |
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http://www.balletmet.org/Notes/Copland.html
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| | IHAS: Composer |
| | While composing the Dickinson cycle, Copland had worked concurrently on his two sets of OLD AMERICAN SONGS, arrangements of folk tunes that became so popular in their piano and orchestral versions as to eclipse the original melodies on which they were based. | | | Born in Brooklyn on November 14, 1900, Copland's early musical inclinations surfaced in his childhood fondness for making up songs. | | | The era's focus on labor issues also had its effects on the music business, where Copland became active in a number of institutions designed to further musicians' professional lives: ASCAP, Arrow Music Press, the American Composers' Orchestra, and the American Music Center. |
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http://www.pbs.org/wnet/ihas/composer/copland.html
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| | Aaron Copland Collection Debuts On American Memory Web Site |
| | The online collection includes an introduction to Copland's music styles such as American music, modernism, music for orchestra and voice, opera, and music for dance and film. | | | These items were selected from Copland's original music sketches, correspondence, writings, and photographs. | | | Beginning in the late 1950s and early 1960s, Copland periodically deposited his original music manuscripts at the Library and subsequently converted them to gifts. |
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http://www.loc.gov/today/pr/2000/00-181.html
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| | Classical Net Review - Aaron Copland: The Life And Work Of An Uncommon Man |
| | Chapters on the compositions are interspersed among the more strictly biographical chapters; 13 out of 29 are on music, all but three in the second half of the book. | | | (I am still waiting for someone to publish a good biography of Schuman.) Pollack's study of Copland's life and music is outstanding among these, in fact exemplary as a composer's biography, because he gives the music equal billing with the life. | | | (354) Pollack shows, though, that even Boulez showed respect for Copland's music – some of it anyway. |
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http://www.classical.net/music/books/reviews/0805049096a.html
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| | Welcome to the Website of Copland House: Timeline of a Musical Life |
| | Copland’s complete piano music performed in concert for the first time (by Leo Smit) | | | First major performance of Copland as pianist, World Premiere of his Piano Concerto (composed 1926); begins lectures at New School for Social Research, New York (continuing for ten years, eventually developing some of these into his book What to Listen for in Music) | | | Department of Music at Queens College of the City University of New York renamed Aaron Copland School of Music |
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http://www.coplandhouse.org/info.asp?pbs=aaroncopland
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| | The American Music Center |
| | Among the recording projects supported are the Atlanta Symphony Orchestra's recording of commissioned works by David Del Tredici and Christopher Theofanidis; a recording of the works of Julius Eastman; a re-issue of music by Charles Wuorinen featuring Ursula Oppens; and a recording of the music of Akemi Naito by the Cygnus Ensemble. | | | Aaron Copland Fund for Music - Recording Program 2005 | | | NEW YORK, NY - The Aaron Copland Fund for Music has awarded grants totaling $504,000 to performing ensembles, presenters and recording companies across America through its 2005 Recording Program. |
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http://www.amc.net/about/news/2005.0706.rec.html
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| | Aaron Copland's America |
| | The audio tour for Aaron Copland's America includes Copland's music as well as illuminating discussions of how many of the works in the exhibit are related to Copland's life and work. | | | Copland's music for Martha Graham's Appalachian Spring (1944) is represented by Isamu Noguchi's sketches and the rocking chair he designed for the production's set. | | | He created music which stemmed from his fascination with American folk themes and multiculturalism. |
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http://www.tfaoi.com/aa/2aa/2aa82.htm
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| | Aaron Copland, Composer |
| | Copland borrowed from American legends and folk music and incorporated them into his music. | | | Although he was probably one of the greatest American composers, Aaron Copland did not grow up in a musical family. | | | Interestingly, Copland actually conducted the Dallas Symphony Orchestra twice. |
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http://www.dsokids.com/2001/dso.asp?PageID=58
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| | MPR: Conscience vs. McCarthy: the political Aaron Copland |
| | The Piano Concerto from 1926 is relevant because in those days, in some minds, the use of jazz (and later folk traditions) in concert music automatically identified an artist as leftist or worse. | | | During Open Air we'll listen to some of the music Copland wrote in the 30s (familiar and not so; unfortunately, "Into the Streets May First" is not available). | | | Aaron Copland has been synonymous with American music for more than 60 years. |
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http://news.minnesota.publicradio.org/features/2005/05/03_morelockb_unamerican
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| | The Aaron Copland Collection ca. 1900-1990 - (American Memory from the Library of Congress) |
| | These items date from 1899 to 1981, with most from the 1920s through the 1950s, and were selected from Copland's music sketches, correspondence, writings, and photographs. | | | It comprises both manuscript and printed music, personal and business correspondence, diaries, writings, scrapbooks, programs, newspaper and magazine clippings, photographs, awards, books, sound recordings, and motion pictures. | | | Aaron Copland by candlelight, studio in the Berkshires, September, 1946 |
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http://memory.loc.gov/ammem/collections/copland
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| | AaronCopland.com - 20th century American composer |
| | Most everyone today is at least familiar with excerpts from Copland's 'Fanfare for the Common Man' due to its wide use in conjunction with theme music for the Olympics, and numerous other commercial applications. | | | In addition to composing, he was also skilled as a conductor and there are many fine recordings with Copland conducting his own music still available. | | | Considered by many the greatest American composer of the 20th century, Copland dedicated himself early on in his composing career to seeking and defining a distinctly American sound. |
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http://www.aaroncopland.com
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| | Essentials of Music - Composers |
| | Pieces such as his Piano Variations stand out for their harmonic and rhythmic experimentation, and jazz rhythms are an important part of his Music for the Theater. | | | He soon turned to other teachers, and began attending symphonic concerts, soaking up the music of the standard symphonic repertoire. | | | Copland began his study of music with piano lessons from his older sister. |
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http://www.essentialsofmusic.com/composer/copland.html
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| | Howard Pollack / Aaron Copland |
| | A conductor, music critic, and teacher who wrote clearly and accessibly about music, Copland composed some of the twentieth century's most familiar works — Billy the Kid, Rodeo, Appalachian Spring, Fanfare for the Common Man — in addition to a wealth of music for opera, ballet, chorus, orchestra, chamber ensemble, band, radio, and film. | | | One of America's most beloved and accomplished composers, Aaron Copland played a crucial role in the coming of age of American music. | | | This is a professional, open-minded, and understanding look at a composer and a man who epitomized those qualities himself. |
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http://www.press.uillinois.edu/s00/pollack.html
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| | The American Music Center |
| | If support has been previously received from the Copland Recording Program, information on when each supported recording was or will be completed. | | | The Aaron Copland Fund for Music Recording Program | | | To document and provide wider exposure for the music of contemporary American composers; |
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http://www.amc.net/resources/grants/recording.html
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| | Milestones of the Millennium: Appalachian Spring |
| | An emotional highpoint of the score is a melody based on a traditional Shaker song, “Simple Gifts.” We hear a chorus sing the original hymn that provided Copland his inspiration, then listen to Copland’s beautiful solo vocal and instrumental adaptations. | | | The music and dance were perfect complements; together they reflect youthful aspiration in the American heartland. | | | Throughout the work, Copland brilliantly weaves melodies that evoke simplicity and the “earnest but good-natured piety” of Shaker culture. |
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http://www.npr.org/programs/specials/milestones/991027.motm.apspring.html
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| | CLASSICAL MUSIC ARCHIVES: Biography of Aaron Copland |
| | Find the music of Aaron Copland in the Archives. | | | Led to a Boston commission (Music for the Theater, for orch., 1925) from Koussevitzky, who also cond. | | | In both works jazz elements were introduced to purge what Copland felt was the ‘too European’ flavour of his mus. |
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http://www.classicalarchives.com/bios/codm/copland.html
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| | BBC - BBC Four - Audio Interviews - Aaron Copland |
| | Copland "showed the world how to write classical music in an American way". | | | BBC - BBC Four - Audio Interviews - Aaron Copland | | | Made up of simple harmonies, folk melodies and straightforward orchestration, his works include the Pulitzer Prize winning ballet music, Appalachian Spring |
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http://www.bbc.co.uk/bbcfour/audiointerviews/profilepages/coplanda1.shtml
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| | Welcome to the Website of Copland House: Home |
| | Steinway is the official piano of Copland House. | | | Photo credits: Richard Bowditch, Jeffery Cotton, J. Henry Fair, Marion Gold, Geoffrey Notkin, Bohdan Oszycka (Copland House sketch), Christian Steiner, Susan Wilson | | | This site was designed as a resource for information about Copland House activities, Copland's life and work, and American music. |
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http://www.coplandhouse.org
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| | USATODAY.com - How Bernstein finds inspiration for score |
| | I was 12, and my piano teacher started to wonder about my improvisation at the piano. | | | How did you get your start in music? | | | She made me play for him and asked if I had any talent (his response: "I don't know"). |
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http://www.usatoday.com/life/movies/movieawards/oscars/2003-03-21-bernstein_x.htm
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| | Bernstein's Studio - Aaron Copland - Leonard Bernstein on Copland at 70 |
| | Every premiere of a new Copland work found the concert hall filled with young composers and musicians. | | | Although I had never seen Copland, I had long adored him through his music. | | | All it will take, it seems to me, is another musical turn, this time to a rediscovery of the basic simplicities of art, in which Copland will once more be looked to as a leader, will once again feel wanted as a composer. |
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http://www.leonardbernstein.com/studio/element.asp?id=30
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| | Aaron Copland |
| | Copland wrote this work for Martha Graham and filled it with evocative "Western" music to accompany the dance. | | | Aaron Copland - Fanfare for the Common Man and Rodeo | | | As in all his orchestral works, Copland's abilities as an orchestrator can clearly be heard. |
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http://www.wwnorton.com/classical/covers/62401.htm
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| | Copland, Aaron (1900 - 1990) |
| | Unquestionably the best known of all Copland's orchestral works must be Fanfare for the Common Man, followed by An Outdoor Overture and El salón Mexico and Quiet City, the last originally incidental music for a play by Irving Shaw. | | | All three works are well known also in the concert-hall. | | | His wider popular reputation in the United States was founded on his thoroughly American ballets, Billy the Kid, Rodeo and Appalachian Spring, and, less overtly, on his film scores, while a great variety of other compositions won him an unassailable position in American concert-life. |
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http://www.naxos.com/composer/copland.htm
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| | Classical Net - Basic Repertoire List - Copland |
| | This culminates in the highly Stravinskian Short Symphony and the craggy Piano Variations, two masterpieces in which I can find not a single wasted note. | | | Copland's music, after his juvenalia, falls into three large periods. | | | As much as anyone, Aaron Copland established American concert music through his compositions, polemics, promotions, and just plain hard work. |
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http://www.classical.net/music/comp.lst/copland.html
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| | On An Overgrown Path: 'Tis the gift to be free |
| | Simple gifts (Shaker song) from Aaron Copland's (above) Old American Songs, set 1, composed in 1950 | | | Hanns Eisler had been forced to leave the U.S. in 1948. | | | For the full text of Aaron Copland's 1953 closed hearing follow An Overgrown Path to Aaron Copland's McCarthy hearing. |
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http://theovergrownpath.blogspot.com/2005/11/tis-gift-to-be-free.html
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| | glbtq >> arts >> Copland, Aaron |
| | So pervasive is his music in American culture that it is hardly an exaggeration to suppose that virtually every American, regardless of his or her interest in classical music (or lack thereof), has heard Copland's compositions somewhere. | | | This work established Copland's reputation in his own country, and by the late 1920s he had begun experimenting with a daringly modern style that incorporated elements of jazz, reflected most notably in his Piano Concerto (1927). | | | By the end of the 1930s, Copland had incorporated into his music a number of American popular motifs, particularly those of the American West (for example, the pioneering settlers, the cowboy, the outlaw), along with the influences of the folk song and Hispanic culture. |
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http://www.glbtq.com/arts/copland_a.html
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