Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-08T10:30:27.526Z Has data issue: false hasContentIssue false

Aspects of Aaron Copland's Music

Published online by Cambridge University Press:  24 March 2010

Extract

Contemporary æsthetic theory is inevitably becoming involved in half-truths. There is a constant bifurcation of concepts, with one aspect often emerging as a unique value while the other is eliminated. Thus, many insist that music achieves its loftiest aims by suppressing form and concentrating on feeling. Within the category of feeling it is further insisted that only the loftiest feelings are admissible into the loftiest music. Or there are those who deny feeling; and those, like Satie and Weill who, legitimately fed up with the nineteenth-century ‘sérieux a tout prix,’ have gone to the other extreme of music with only the most ignoble content.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1945

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)