About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 98. Chapters: John Adams, Charles Ives, Aaron Copland, Samuel Barber, Ornette Coleman, Virgil Thomson, George Crumb, Ellen Taaffe Zwilich, Ned Rorem, Elliott Carter, John Harbison, Bernard Rands, Ernst Toch, Wynton Marsalis, Karel Husa, Walter Piston, Howard Hanson, Dominick Argento, Mario Davidovsky, Charles Wuorinen, Gian Carlo Menotti, Norman Dello Joio, Steven Stucky, Morton Gould, Christopher Rouse, William Schuman, Henry Brant, William Bolcom, Gunther Schuller, Roger Sessions, Douglas Moore, Paul Moravec, Robert Ward, John Corigliano, Quincy Porter, David Lang, Leo Sowerby, Lewis Spratlan, Michael Colgrass, Mel Powell, George Perle, Donald Martino, Jacob Druckman, David Del Tredici, Joseph Schwantner, Yehudi Wyner, Roger Reynolds, Stephen Albert, Aaron Jay Kernis, Gail Kubik, George Walker, Shulamit Ran, John La Montaine, Melinda Wagner, Wayne Peterson, Leslie Bassett, Richard Wernick, Synchronisms No. 6 for Piano and Electronic Sound. Excerpt: Aaron Copland (; November 14, 1900 - December 2, 1990) was an American classical composer, composition teacher, writer, and later in his career a conductor of his own and other American music. He was instrumental in forging a distinctly American style of composition, and is often referred to as "the Dean of American Composers." He is best known to the public for the works he wrote in the 1930s and 40s in a deliberately more accessible style than his earlier pieces, including the ballets Appalachian Spring, Billy the Kid, Rodeo and his Fanfare for the Common Man. The open, slowly changing harmonies of many of his works are archetypical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. However, he wrote music in different styles at different periods of his life: his early works incorporated jazz or avant-garde eleme...
