Aaron Copland

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Aaron Copland

Aaron Copland was the embodiment of what a composer can hope to become.

Copland was very much in touch not only with himself and his feelings, but with

the audience he intended to reach. Very few composers have a concrete idea of

what "types" of people they wish their music to reach. Copland was one of these

few. The "Common Man" was the central part of much of his volumes of music

strived to reach. Copland felt that, ". .everyone should have a chance to see

things through this music. Limiting who can understand it only limits your

usefulness" Throughout his 75+ years as a composer and conductor, he touched

the lives and hearts of as many people as he could.

Copland was born in Brooklyn, New York in 1900 to fairly affluent

parents. Because of his family's financial status, he started formally training

as a teen, and moved to Paris where he became the first American student of

Nadia Boulanger. It was here that Copland developed much of his neo-classical

style. Although he enjoyed the precise structure that Boulanger had taught him,

Copland's heart was truly in creating music that people other than musicians

could appreciate. It was upon his return to America in 1924 that he decided that

he would write ". . .truly American music." He traveled throughout America,

getting a taste of what the "common man" was listening to. During these travels

he strayed into Mexico, and wrote the highly successful El Salon Mexico. A quote

from the fall of 1932 sums up his intentions in writing this piece: "Any

composer who goes outside his native land wants to return bearing musical

souvenirs." This is exactly what he did. The piece is a lively adaptation of

Frances Toor's Cancionero Mexicano, with a very loose tempo, and heavy use of

the horn section.

It was after the success of El Salon Mexico that Copland proceeded to

produce what is now considered the epitome of "American" music. He combined his

neo-classical schooling with jazz-like syncopation and a new, more "open" use of

old chordal progressions. He created Billy The Kid in 1938, producing the

first "Western" musical. The score achieved a remarkable balance between

outright humor and pathos, and oftentimes bordered on tragic. It was this base

understanding of humanity that made Copland's music what it is. Many texts also

refer to a certain built in sympathy that Copland may have had for the main

character, citing his homosexuality as a cause for his deep understanding of

what it is to be looked down upon by society.

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