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Solid Basic Training: Aaron Copland’s Studies with Rubin Goldmark

Solid Basic Training: Aaron Copland’s Studies with Rubin Goldmark DANiel e . m ATHers s olid b asic Training: Aaron Copland’s s tudies with r ubin g oldmark Aaron Copland studied privately with the American composer and peda- gogue r ubin g oldmark (1872–1936) for four academic years through the spring of 1921, all while living at home in brooklyn, New York. These compositional studies pose an enduring critical lacuna despite the historical importance of both figures. As for Copland, his reputation of having dominated the American classical musical scene for most of the twentieth century continues unabated. While one encounters the moniker “dean of American composers” less and less nowadays, his reputation as the figurehead of American musical nationalism during the last century remains intact. The bibliography of books alone about him has expanded exponentially since the 2000 centenary of his birth. His compositional legacy continues to rest chiefly on the undying popular - ity of several populist-st yled works on American themes or evocative of American subject matter and suitable for the type of wide audience newly available in the twentieth century through technological innova- tions in mass media. g oldmark’s legacy, by contrast, has barely survived at all since his death on m arch 6, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Solid Basic Training: Aaron Copland’s Studies with Rubin Goldmark

American Music , Volume 33 (1) – Nov 1, 2015

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

DANiel e . m ATHers s olid b asic Training: Aaron Copland’s s tudies with r ubin g oldmark Aaron Copland studied privately with the American composer and peda- gogue r ubin g oldmark (1872–1936) for four academic years through the spring of 1921, all while living at home in brooklyn, New York. These compositional studies pose an enduring critical lacuna despite the historical importance of both figures. As for Copland, his reputation of having dominated the American classical musical scene for most of the twentieth century continues unabated. While one encounters the moniker “dean of American composers” less and less nowadays, his reputation as the figurehead of American musical nationalism during the last century remains intact. The bibliography of books alone about him has expanded exponentially since the 2000 centenary of his birth. His compositional legacy continues to rest chiefly on the undying popular - ity of several populist-st yled works on American themes or evocative of American subject matter and suitable for the type of wide audience newly available in the twentieth century through technological innova- tions in mass media. g oldmark’s legacy, by contrast, has barely survived at all since his death on m arch 6,

Journal

American MusicUniversity of Illinois Press

Published: Nov 1, 2015

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