LEADER 03010nam 2200397 450 001 9910725066003321 005 20230629152303.0 010 $a0-472-12504-4 035 $a(CKB)4100000007924592 035 $a(NjHacI)994100000007924592 035 $a(EXLCZ)994100000007924592 100 $a20230629d2012 uy 0 101 0 $aeng 135 $aur||||||||||| 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,$d[2012] 210 4$dİ2012 215 $a1 online resource (xviii, 285 pages) 311 $a0-472-06984-5 320 $aIncludes bibliographical references (pages 259-275) and index. 327 $aIntro; Contents; List of Tables; List of Musical Examples; Introduction; Chapter One: Scherzo humoristique (Cat and Mouse): Copland's American Petrushka and His Debt to Stravinsky; Chapter Two: Boulanger and Compositional Maturity; Chapter Three: Popular Music and Jazz: Authentic or Ersatz?; Chapter Four: Paris and Jazz: French Neoclassicism and the New Modern American Music; Chapter Five: Back in the United States: Popular Music, Jazz, and the New American Music; Chapter Six: European Influence beyond Stravinsky and Les Six: Ha?ba and Schoenberg Chapter Seven: Toward a New National Music during the 1930s: Copland's Populism, Accessible Style, and Folk and Popular MusicChapter Eight: Copland's Journey Left; Chapter Nine: "Folk" Music and the Popular Front: El Salo?n Me?xico; Chapter Ten: Billy the Kid; Conclusion: A Vision for American Music . . .; Notes; Bibliography; Index. 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. 517 $aAmerican Stravinsky 606 $aMusic$y20th century$xHistory and criticism 615 0$aMusic$xHistory and criticism. 676 $a780.904 700 $aMurchison$b Gayle Minetta$0999325 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910725066003321 996 $aThe American Stravinsky$92292920 997 $aUNINA LEADER 00972nam0-2200325---450 001 990009651870403321 005 20241115124035.0 010 $a9788812000487 035 $a000965187 035 $aFED01000965187 035 $a(Aleph)000965187FED01 100 $a20121130d2011----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $aa-------001yy 200 1 $aEnciclopedia dell'Italiano$f[direttore: Raffaele Simone] 205 $aEdizione speciale per la libreria 210 $aRoma$cIstituto della Enciclopedia italiana fondata da Giovanni Tre$d2011 215 $aXXIX, 1681 p.$cill.$d26 cm 307 $aIn custodia 610 0 $aLingua italiana$aEnciclopedie 676 $a450.3 702 1$aSimone,$bRaffaele$f<1944- > 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990009651870403321 952 $a453 TREC 01$bDip.Fil.Mod.18989$fFLFBC 959 $aFLFBC 996 $aEnciclopedia dell'Italiano$9840152 997 $aUNINA