LEADER 03045oam 22004934a 450 001 9910265235703321 005 20210915044811.0 010 $a9780472901005 010 $a0472901001 035 $a(CKB)4100000003160941 035 $a(MiAaPQ)EBC5725497 035 $a(OCoLC)1111391949 035 $a(MdBmJHUP)muse73592 035 $a(ScCtBLL)44f9167f-eafb-448c-a996-70dbb4aa6d63 035 $a(Perlego)2329798 035 $a(EXLCZ)994100000003160941 100 $a20120525d2012 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe American Stravinsky$eThe Style and Aesthetics of Copland's New American Music, the Early Works, 1921-1938 /$fGayle Murchison 210 1$aAnn Arbor :$cUniversity of Michigan Press,$d2012. 210 4$dİ2012. 215 $a1 online resource (xviii, 285 pages) $cillustrations 311 08$a9780472099849 311 08$a0472099841 320 $aIncludes bibliographical references (p. 259-275) and index. 327 $aScherzo humoristique (Cat and mouse) : Copland's American Petrushka and his debt to Stravinsky -- Boulanger and compositional maturity -- Popular music and jazz : authentic or Ersatz? -- Paris and jazz : French neoclassicism and the new modern American music -- Back in the United States : popular music, jazz, and the new American music -- European influence beyond Stravinsky and les Six : Ha?ba and Schoenberg -- Toward a new national music during the 1930s : Copland's populism, accessible style, and folk and popular music -- Copland's journey left -- "Folk" music and the popular front : El salo?n Mexico -- Billy the Kid -- A vision for American music-- . 330 $aOne of the country's most enduringly successful composers, Aaron Copland created a distinctively American style and aesthetic in works for a diversity of genres and mediums, including ballet, opera, and film. Also active as a critic, mentor, advocate, and concert organizer, he played a decisive role in the growth of serious music in the Americas in the twentieth century. In The American Stravinsky, Gayle Murchison closely analyzes selected works to discern the specific compositional techniques Copland used, and to understand the degree to which they derived from European models, particularly the influence of Igor Stravinsky. Murchison examines how Copland both Americanized these models and made them his own, thereby finding his own compositional voice. Murchison also discusses Copland's aesthetics of music and his ideas about its purpose and social function. 606 $aMusic / History & Criticism$2bisacsh 606 $aMusic 608 $aElectronic books. 615 7$aMusic / History & Criticism 615 0$aMusic. 676 $a780.92 700 $aMurchison$b Gayle Minetta$0999325 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910265235703321 996 $aThe American Stravinsky$92292920 997 $aUNINA