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- Newsgroups: rec.music.compose
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- From: will@ogre.cica.indiana.edu (William Sadler)
- Subject: Re: academia, power, priveledge...
- Message-ID: <will.725732971@ogre>
- Sender: news@usenet.ucs.indiana.edu (USENET News System)
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- Organization: Indiana University
- References: <1992Dec28.160411.7811@engage.pko.dec.com>
- Date: Wed, 30 Dec 1992 16:29:31 GMT
- Lines: 27
-
- In <1992Dec28.160411.7811@engage.pko.dec.com> sherman@ecadsr.enet.dec.com (My name is...) writes:
-
- >You know, this might be an invalid assertion. In looking over some info
- >about many of the great recent composers, the name of Nadia Boulanger comes
- >up quite often. Yet, my wife and I don't recall having heard *any* of her
- >compositions or that she composed much. Rather, we have consistently heard
- >(my wife heard from Copland himself in a private conversation with him) of
- >how *wonderful* an instructor she was.
-
- Nadia Boulanger was evidently able to instruct without hampering the stylistic
- tendencies of her students. She also believed that American music would
- be undergoing an explosion similar to that in Russia after the 1920s. (She
- was correct, but the explosion wasn't in euro-centric music ;-) Because of
- this many Americans studied with her. It is surprising, however, that many of
- the first pieces of her students after they returned to America sound
- a lot like Stravinsky of that period or even any French composer of the day.
- Aaron Copland is a good example of this tendency.
-
- She also held up the music of her sister, Lili Boulanger, as a sort of
- aesthetic goal, through yearly concerts.
-
- Will
- --
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- * _______________\|/_ Will Sadler will@cica.indiana.edu *
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