Aaron Copland (1900-1990) wrote two concertos that display significant jazz influences, the Piano Concerto (1926) and the Clarinet Concerto (1948). Despite the fact that both were influenced by jazz, these two concertos came into the world in very different circumstances. In 1926, Copland's understanding of jazz was rather limited, not extending much beyond the commercial music of Tin Pan Alley. This point of view was expressed in his writings and reflected in his compositions. By 1948, he was writing much more discerningly about jazz, showing an awareness of many of the latest trends in the style. Paradoxically, though, his jazz-influenced compositions from after 1926, including both the Clarinet Concerto and his works from between the concertos, do not reflect the growth of his understanding. This thesis presents a study of this paradox through an examination of both his writings and his compositions.
|School:||University of Kentucky|
|School Location:||United States -- Kentucky|
|Source:||MAI 53/05M(E), Masters Abstracts International|
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