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Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland & Hanns Eisler by Sally Bick (review)

Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland & Hanns Eisler by... 258 American Music, Summer 2021 NOTES 1. Nancy Yunhwa Rao, “American Compositional Theory in the 1930s: Scale and Exoti - cism in ‘The Nature of Melody’ by Henry Cowell,” Musical Quarterly 85, no. 4 (2001): 595–640. 2. Personal correspondence with Chou Wen-chung, February 9, 2012. 3. Personal correspondence with Chou Wen-chung, July 11, 2011. One of Chou’s last compositions was dedicated to Carter for his one-hundredth birthday Ode to Eternal Pine , , commissioned by the New York New Music Ensemble, a part of his Eternal Pine series. 4. Twelve pages of calligraphy are included in the sketches of Echoes from the Gorge that I have access to. But those sketches could well include more such pages. The significance of these calligraphic sketches to the work awaits further study. 5. Bernard Holland, “Concert: New York City Symphony New ,” York Times, February 9, 6. Kofi Agawu, “Response to 1999 SMT International Plenary Session,” Music Theory Online 6, no. 1 (2000), https://mtosmt.org/issues/mto.00.6.1/mto.00.6.1.agawu.html. 7. John Winzenburg, review of Chou Wen-Chung: The Life and Work of a Contemporary Chinese-Born American Composer by Peter M. Chang; The Music of Chou Wen-chung by Eric C. Lai, Asian Music 45, no. 1 (2014): 145–54. 8. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland & Hanns Eisler by Sally Bick (review)

Bushard, Anthony
American Music , Volume 39 (2) – Aug 31, 2021
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

258 American Music, Summer 2021 NOTES 1. Nancy Yunhwa Rao, “American Compositional Theory in the 1930s: Scale and Exoti - cism in ‘The Nature of Melody’ by Henry Cowell,” Musical Quarterly 85, no. 4 (2001): 595–640. 2. Personal correspondence with Chou Wen-chung, February 9, 2012. 3. Personal correspondence with Chou Wen-chung, July 11, 2011. One of Chou’s last compositions was dedicated to Carter for his one-hundredth birthday Ode to Eternal Pine , , commissioned by the New York New Music Ensemble, a part of his Eternal Pine series. 4. Twelve pages of calligraphy are included in the sketches of Echoes from the Gorge that I have access to. But those sketches could well include more such pages. The significance of these calligraphic sketches to the work awaits further study. 5. Bernard Holland, “Concert: New York City Symphony New ,” York Times, February 9, 6. Kofi Agawu, “Response to 1999 SMT International Plenary Session,” Music Theory Online 6, no. 1 (2000), https://mtosmt.org/issues/mto.00.6.1/mto.00.6.1.agawu.html. 7. John Winzenburg, review of Chou Wen-Chung: The Life and Work of a Contemporary Chinese-Born American Composer by Peter M. Chang; The Music of Chou Wen-chung by Eric C. Lai, Asian Music 45, no. 1 (2014): 145–54. 8.

Journal

American Music – University of Illinois Press

Published: Aug 31, 2021

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