Aaron Copland was born on November 14th, 1900 in Brooklyn, New York, United States (3). His parents, Harris Morris Copland and Sarah Mittenthal Copland, were Jewish immigrants from Russia (6). Copland had four older siblings who grew up together. When he was eleven years old, one of his sisters, Laurine, taught him how to play a piano (3). Laurine also influenced to his musical world by introducing him to ragtime and opera (6). From 1913 to 1917, he took his first formal piano lessons from Leopold Wolfsohn (3, 6). Wolfsohn introduced him to the pieces of the great musicians such as Beethoven and Mozart. When he was fifteen, he attended a concert by composer Ignacy Paderewski. The dream of becoming a composer sprouted inside him after attending the concert (3).
While he is attending Boys’ High School in 1917, he began to study composition and music theory through taking corresponding courses taught by Rubin Goldmark (2). Rubin Goldmark was a very conservative American composer, who discouraged modern music. After his graduation from Boy’s High School in 1918, he chose to study composition with Goldmark instead of attending to a university (6). He also received piano lessons from Victor Wittgenstein and Clarence Alder. He was exposed to various genres of music by attending to operas and concerts. The Cat and the Mouse (1920) was his first published composition that was not shown to Goldmark. The Cat and the Mouse is a literal composition which fast tempo depicts the mouse while slow tempo depicts the cat (1). In 1921, he wrote the Piano Sonata for Goldmark (6)
Copland did not like the conservative musical world of United States (1). After he completed the Piano Sonata, he left United States and continued his studying in American...
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3. Copland, Aaron, and Vivian, Perlis. Copland: 1900 through 1942. New York: St. Martin's Press, 1987. Print.
4. Copland, Aaron, and Vivian, Perlis. Copland: Since 1943. New York: St. Martin's Press, 1999. Print.
5. Griffiths, Paul. "Copland, Aaron." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 16 Jan. 2011 . Web.
6. Howard Pollack. "Copland, Aaron." Grove Music Online. Oxford Music Online. 16 Jan. 2011 . Web.
7. Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. New York: Henry Holt and Company, 1999. Print.
8. Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill Humanities/Social Sciences/Languages, 2010. Print.
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For almost half a century, the musical world was defined by order and esteemed the form of music more highly than the emotion that lay behind it. However, at the turn of the 19th century, romantic music began to rise in popularity. Lasting nearly a century, romantic music rejected the ideas of the classical era and instead encouraged composers to embrace the idea of emotionally driven music. Music was centered around extreme emotions and fantastical stories that rejected the idea of reason. This was the world that Clara Wieck (who would later marry the famous composer, Robert Schumann) was born into. Most well known for being a famous concert pianist, and secondly for being a romantic composer, Clara intimately knew the workings of romantic music which would not only influence Clara but would later become influenced by her progressive compositions and performances, as asserted by Bertita Harding, author of Concerto: The Glowing Story of Clara Schumann (Harding, 14). Clara’s musical career is an excellent example of how romantic music changed from virtuosic pieces composed to inspire awe at a performer’s talent, to more serious and nuanced pieces of music that valued the emotion of the listener above all else.
Sargent Murray. Ed. Sharon M Harris. New York: New York: Oxford University Press, 1995. 15-43
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In their books: Copland: 1900 through 1942 and Copland: Since 1943, Aaron Copland and Vivian Perlis give a detailed account of the life of one of America’s most influential composers. The books are arranged similarly to the Shostakovich biography that our class reviewed earlier this semester. That is, through personal accounts by Copland himself along with accounts of Copland’s friends and acquaintances, the authors manage to paint an accurate and interesting picture detailing the life of the great composer. When combined, the two books recount Copland’s entire life, dividing it into two periods for the purpose of easier organization and reading.
Smith, Jane Stuart and Betty Carlson. The Gift of Music: Great Composers and their Influence. Wheaton, IL: Crossway, 1995. Print
As a youth he reluctantly studied law, as much bore by it as Schumann had been, and even became a petty clerk in the Ministry of Justice. But in his early twenties he rebelled, and against his family's wishes had the courage to throw himself into the study of music at the St. Petersburg Conservatory. He was a ready improviser, playing well for dancing and had a naturally rich sense of harmony, but was so little schooled as to be astonished when a cousin told him it was possible to modulate form any key to another. He went frequently to the Italian operas which at that time almost monopolized the Russian stage, and laid t...