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