02619nam 2200493 450 991079676060332120180614133017.00-19-064971-20-19-064972-00-19-064970-4(CKB)4100000004817639(MiAaPQ)EBC5378472(StDuBDS)EDZ0001878370(PPN)230581706(EXLCZ)99410000000481763920180603d2018 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierThe sound of a superpower musical Americanism and the Cold War /Emily Abrams AnsariNew York, NY :Oxford University Press,2018.1 online resource (289 pages)Previously issued in print: 2018.Print version : 9780190649692 Includes bibliographical references and index.The American exceptionalists: Howard Hanson and William Schuman -- The "apolitical" opportunist: Virgil Thomson -- The disillusioned nationalist: Roy Harris -- The principled brand strategist: Aaron Copland -- The frustrated activist: Leonard Bernstein.Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson, and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile, a method of harmonic organization that some considered more Cold War, appropriate, serialism, began to rise in status. For many composers and historians, the Cold War had effectively 'killed off' musical Americanism. In this work, the author offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers.MusicPolitical aspectsUnited StatesHistory20th centuryCold WarMusic and the warMusicUnited States20th centuryHistory and criticismMusicPolitical aspectsHistoryCold WarMusic and the war.MusicHistory and criticism.781.5990973Ansari Emily Abrams1569286MiAaPQMiAaPQMiAaPQBOOK9910796760603321The sound of a superpower3842052UNINA