Aaron Copland Night Thoughts: Homage to Ives 1972 8 Min for Piano Solo 9790051284085 Piano Availability: This Work Is Available from Boosey & Hawkes for the World

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Aaron Copland Night Thoughts: Homage to Ives 1972 8 min for piano solo 9790051284085 Piano Availability: This work is available from Boosey & Hawkes for the world Piano Fantasy 1955-57 31 min for piano Aaron Copland photo © Roman Freulich 9790051281732 Piano Availability: This work is available from Boosey & Hawkes for the world PIANO(S) Piano Sonata The Cat and the Mouse: Scherzo humoristique 1939-41 23 min 1920 3 min for piano 9790051280278 Piano for piano solo Availability: This work is available from Boosey & Hawkes for the world 9790051280827 Piano Piano Variations Availability: This work is available from Boosey & Hawkes for the world 1930 11 min Danza de Jalisco for piano solo 1959/67 4 min 9790051281794 Piano Availability: This work is available from Boosey & Hawkes for the world for two pianos 9790051271368 2 Pianos, 4 Hands El Salon Mexico Availability: This work is available from Boosey & Hawkes for the world Aaron Copland, arranged by Leonard Bernstein Four Piano Blues 1936 12 min 1947/34/48/26 8 min arranged for two pianos 9790051271030 2 Pianos, 4 Hands for solo piano 9790051240753 Piano Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world El Salon Mexico Midsummer Nocturne Aaron Copland, arranged by Leonard Bernstein 1936 12 min 1947 2 min arranged for piano solo for piano solo 9790051280247 Piano 9790051282630 Piano Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world PIANO(S) 1 PIANO(S) 1 Three Moods 1921 4 min for solo piano 9790051282753 Piano Availability: This work is available from Boosey & Hawkes for the world Two Piano Pieces 1982/3 5 min 'Midday Thoughts' and 'Proclamation' 9790051284382 Piano Availability: This work is available from Boosey & Hawkes for the world PIANO(S) 2 PIANO(S) 2.

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COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1……………………………..
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The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
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Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
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021-Copland-Piano-Music-Romantic
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Aaron Copland Success and Critical Acclaim
to the Pulitzer Prize-winning _Appalachian_ _Spring_ found both popular Aaron Copland success and critical acclaim. His decision to 'say it in the simplest possible terms' alienated some of his peers, who saw in it a repudiation of musical progress -- theirs and his own. But many who had been drawn to Copland's music through his use of familiar melodies were in turn perplexed by his use, beginning in the mid-1950's, of an individualized 12-tone compositional technique. His orchestral works _Connotations_ (1962) and _Inscape_ (1967) stand as perhaps the definitive statements of his mature, 'difficult' style. Copland never ceased to be an emissary and advocate of new music. In 1951, he became the first American composer to hold the position of Norton Aaron Copland photo © Roman Freulich Professor of Poetics at Harvard University; his lectures there were published as _Music and Imagination._ For 25 years he was a leading member of the An introduction to the music of Aaron Copland faculty at the Berkshire Music Center (Tanglewood). Throughout his career, he nurtured the careers of others, including Leonard Bernstein, Carlos Aaron Copland's name is, for many, synonymous with American music. It was Chavez, Toru Takemitsu, and David Del Tredici. He took up conducting while his pioneering achievement to break free from Europe and create a concert in his fifties, becoming a persuasive interpreter of his own music; he music that is recognizably, characteristically American. At the same time, he continued to conduct in concerts, on the radio, and on television until he was was able to stamp his music with a compositional personality so vivid as to 83.
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Aaron Copland Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Contact information: http://hdl.loc.gov/loc.music/ perform.contact Finding Aid encoded by Library of Congress Music Division, 2005 Finding aid URL: http://hdl.loc.gov/loc.music/ eadmus.mu002006 Latest revision: 2011 January Collection Summary Title: Aaron Copland Collection Span Dates: 1841-1991 Bulk Dates: (bulk 1911-1990) Call No.: ML31.C7 Creator: Copland, Aaron, 1900- Extent: around 400,000 items; 564 boxes; 306 linear feet Language: Collection material in English Repository: Music Division, Library of Congress, Washington, D.C. Abstract: The Aaron Copland Collection consists of published and unpublished music by Copland and other composers, correspondence, writings, biographical material, datebooks, journals, professional papers including legal and financial material, photographs, awards, art work, and books. Of particular interest is the correspondence with Nadia Boulanger, which extent over 50 years, and with his long-time friend, Harold Clurman. Other significant correspondents are Leonard Bernstein, Paul Bowles, Benjamin Britten, Carlos Chávez, David Diamond, Roy Harris, Charles Ives, Claire Reis, Arnold Schoenberg, Roger Sessions, and Virgil Thomsom. The photographic collection of Copland's friend and confidant Victor Kraft, a professional photographer, forms part of the collection. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bernstein, Leonard, 1918-1990--Correspondence. Boulanger, Nadia--Correspondence. Bowles, Paul, 1910-1999--Correspondence.
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