Question

Describe Aaron Copland’s relationship with Modernism.

Answer 1

Aaron Copland's relationship with Modernism reflects the transformative period in the arts where he incorporated modernist principles in his music while maintaining an accessible American sound. His works like 'Appalachian Spring' marry the innovation and distinct American elements of the time, exemplifying the modernist ethos of creating novel art that speaks to the American experience.

Step-by-step explanation:

Aaron Copland's Relationship with Modernism

American composer Aaron Copland's relationship with Modernism reflects a period of significant cultural transformation that parallels broader changes in society and the arts. Modernism in music sought to break away from traditional forms and structures, which often meant experimenting with scales, notes, and rhythms to create novel and sometimes challenging listening experiences. Copland's work as a composer during the Modernist era was not only a reflection of these artistic shifts but also an embodiment of the American spirit within this global movement. He synthesized elements of Modernism into his compositions, yet managed to maintain a sound that was accessible and often celebrated the American experience.

Within the framework of Modernism, Copland engaged in a personal exploration of sound, using dissonance, changing tempos, and innovative rhythms. Modernist ideals extended to various art forms, seeking to reinvent and break away from the past. Copland's music, while modernist in technique and innovation, often focused on themes that captured the essence of America, from its folk traditions to its landscapes. His style was thus a fusion of modernist principles with distinctly American elements, resonating with both the avant-garde and the public.

The period of American Modernism, approximately from 1900 to the 1930s, provided a fertile ground for Copland to experiment and lead in defining an American sound in classical music. Copland's compositions, such as 'Appalachian Spring' and 'Fanfare for the Common Man', are not only celebrated works within the modernist canon but also gems of American cultural heritage that reflect the modernist call to 'Make it new!' Thus, Aaron Copland's relationship with Modernism encompasses both a commitment to innovation and a desire to create music that was distinctly American in character.

Answer 2

His early music mixes very modern musical ideas with hints of jazz influence. Pieces such as his Piano Variations stand out for their harmonic and rhythmic experimentation, and jazz rhythms are an important part of his Music for the Theater. Copland's concern with modern techniques lessened during the Great Depression.

Explanation:Aaron Copland seems at first to be an odd person to create a musical style that combined the myths of the American West and the styles of Latin American music into a populist music that spoke to a large segment of American society. Copland was the son of Russian Jewish immigrants, grew up in New York, and found his musical voice in the international, avant-garde atmosphere of Paris in the 1920s. In New York, he was part of a musical elite, championing the cause of modern music. At the same time, he had ties to the political and social left with its reformist agenda. Yet it could be argued that all of these elements were important ingredients, not just in the fabric of America in the 1920s and 1930s, but in the creation of a distinctly American aesthetic.

Copland began his study of music with piano lessons from his older sister. He soon turned to other teachers and began attending symphonic concerts, soaking up the music of the standard symphonic repertoire. While in high school, he studied harmony, counterpoint, and orchestration with Rubin Goldmark, who tried to steer his tastes down a conservative path. But at age twenty, Copland left New York to study in Paris with Nadia Boulanger, who was to serve as a teacher and mentor to many of the leading composers of the century. In Paris, and in his travels through Europe, he was exposed to a wide variety of new styles. He returned to a New York that was in the midst of an artistic and social revival, and he immediately became a part of that renewal. From 1928 to 1931 he coordinated a series of concerts with the composer Roger Sessions that presented important new works to the American public. He lectured at the New School for Social Research (from which his book What to Listen for in Music took shape) and built his reputation as a composer.