Word: aarons
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Dates: during 1970-1979
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Such pieces, though much less doctrinaire than Schoenberg, were probably the least understood and least performed of Stravinsky's whole corpus. Yet like the rest of his work, they were unmistakably Stravinsky, and their quirky unconventionality continued to open fresh byways to other composers. In the words of Aaron Copland: "It is the rightness of his 'wrong' solutions that fascinates one. The notes themselves [seem] surprised at finding themselves situated where they...
Political Persecution. Mardian's attitudes are deeply rooted. His father, Samuel, because of his ardent Armenian nationalism, spent four years in a Turkish dungeon. Once he was granted political asylum in the U.S., Samuel started a construction business in Pasadena. Three sons, Aaron, Dan and Samuel, eventually moved to Phoenix, where the construction firm prospered, and they became close friends and supporters of Barry Goldwater...
...joined the Composers Collective, the first left-wing, musical-political organization in the U. S., whose members included Bertolt Brecht, Hans Eisler, Earl Robinson, Elie Siegmeister and Aaron Copland. Having decided that "the world is divided into the murderers and the murdered," he wanted to show in his work which is which. His life paralleled his writing once too often: he was murdered...
Surprise Ending. Instead, it was a night of wild celebration. In an astonishing show of affluence and affection, black celebrities from all walks -Hank Aaron, Whitney Young, the Rev. Jesse Jackson, Mrs. Coretta King, Julian Bond-converged on Atlanta to hail the return of the deposed champion. Streams of customized Cadillacs rolled up to the city's ancient Municipal Auditorium like chariots arriving for a Roman circus. Men in matching mink hats and coats and white knit jumpsuits vied for attention with glittering women in spangled gowns and beaded maxi coats. Diana Ross, looking supreme in a see-through...
Lest I seem to be an aging reactionary, let me assure you that I have no hatred for the new music. I suspect that the trouble is not in the music, but in the composer. Writing in the New York Times recently, Aaron Copland observed that too many contemporary composers use the university as their base, and consequently, the music they produce is refined and scholarly, yet almost unfit for human consumption, except for those who believe that music should be seen and not heard. Coplan cites Foss, with his long connection with UCLA, and now Harvard...