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Music for the Common Man
In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Salón México, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound--the social and political perspective that might be heard within these familiar pieces--has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, poli...
Humanities
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Orpheus in Manhattan
Orpheus in Manhattan is the first comprehensive biography of Schuman that draws heavily upon his writings and on other archival materials. Filled with new discoveries and revisions of the received historical narrative, Orpheus in Manhattan repositions Schuman as a major figure in America's musical life.
The Modern Brass Ensemble in Twentieth-Century Britain
The first study of the performance practice, repertoire and context of the modern 'brass ensemble' in the musical world.
Sounds of War
Classical music in 1940s America had a cultural relevance and ubiquitousness that is hard to imagine today. No other war mobilized and instrumentalized culture in general and music in particular so totally, so consciously, and so unequivocally as World War II. Through author Annegret Fauser's in-depth, engaging, and encompassing discussion in context of this unique period in American history, Sounds of War brings to life the people and institutions that created, performed, and listened to this music.
Aaron Copland and His World
Aaron Copland and His World reassesses the legacy of one of America's best-loved composers at a pivotal moment--as his life and work shift from the realm of personal memory to that of history. This collection of seventeen essays by distinguished scholars of American music explores the stages of cultural change on which Copland's long life (1900 to 1990) unfolded: from the modernist experiments of the 1920s, through the progressive populism of the Great Depression and the urgencies of World War II, to postwar political backlash and the rise of serialism in the 1950s and the cultural turbulence of the 1960s. Continually responding to an ever-changing political and cultural panorama, Copland ke...
Music and Sound in Documentary Film
This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality and fiction. Exploring examples of documentary films which make use of soundtrack music, from an interdisciplinary perspective, Music and Sound in Documentary Film is the first in-depth treatment on the use of music in the nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies.
Martha Graham in Love and War
Often called the Picasso, Stravinksy, or Frank Lloyd Wright of the dance world, Martha Graham revolutionized ballet stages across the globe. Here, Franko reframes Graham's most famous creations by showing how she wove together strands of love, passion, politics, and myth to create an American school of choreography and dance.
Literature and Music in the Atlantic World, 1767-1867
This new study looks at the relationship of rhetoric and music in the era's intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson, William Billings and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music.
Aaron Copland and the American Legacy of Gustav Mahler
"Although Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, he was strongly attracted to the music of Gustav Mahler. Drawing extensively on archival and musical materials, this is the first detailed exploration of Copland's multifaceted relationship with Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein"--
