The Boston School (also called the Stravinsky School) was a group of composers, most of them Jewish, from Boston, Massachusetts who were influenced by the neoclassicism of Igor Stravinsky: [1]
- Arthur Berger [1] [2] [3] [4]
- Irving Fine [1] [2] [3] [4]
- Lukas Foss [1] [2] [3] [4]
- Alexei Haieff [2] [4]
- Harold Shapero [1] [2] [3] [4]
- Claudio Spies [2]
- Leonard Bernstein [3]
- Ingolf Dahl [2]
- John Lessard [2] [4]
- Louise Talma [5]
Many of them studied with Nadia Boulanger. [2] Irving Fine described the music of Stravinsky and his followers as "diatonic and tonal or quasi-modal", pandiatonic, and concerned with chord spacing and rhythm. [2]
See also
- The Second New England School, also known as the "Boston Six"
Sources
- ^ a b c d e Taruskin, Richard F. (1997). Defining Russia Musically: Historical and Hermeneutical Essays, p.457. ISBN 9780691070650.
- ^ a b c d e f g h i j Ramey, Phillip (2005). Irving Fine: An American Composer in His Time, p.49-50. ISBN 9781576471166.
- ^ a b c d e Marta Robertson, Robin Armstrong, Robin Armstrong (2001). Aaron Copland: A Guide to Research, p.50. ISBN 9780815321781.
- ^ a b c d e f Berger, Arthur (2002). Reflections of an American Composer, p.246. ISBN 9780520232518. Cites Copland, Aaron (1949). "Influence, Problem, Tone", Stravinsky: In the Theatre, p.122.
- ^ Moore, Laura McDonald (2008). "Holy Sonnets: La Corona" of Louise Talma: Selected Elements of Texture, Technique, and Text, p.13. ISBN 9780549691990. Cites Berger, Arthur (June 1955). "Stravinsky and the Younger Composers", Score no 12, p.41.
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The Boston School (also called the Stravinsky School) was a group of composers, most of them Jewish, from Boston, Massachusetts who were influenced by the neoclassicism of Igor Stravinsky: [1]
- Arthur Berger [1] [2] [3] [4]
- Irving Fine [1] [2] [3] [4]
- Lukas Foss [1] [2] [3] [4]
- Alexei Haieff [2] [4]
- Harold Shapero [1] [2] [3] [4]
- Claudio Spies [2]
- Leonard Bernstein [3]
- Ingolf Dahl [2]
- John Lessard [2] [4]
- Louise Talma [5]
Many of them studied with Nadia Boulanger. [2] Irving Fine described the music of Stravinsky and his followers as "diatonic and tonal or quasi-modal", pandiatonic, and concerned with chord spacing and rhythm. [2]
See also
- The Second New England School, also known as the "Boston Six"
Sources
- ^ a b c d e Taruskin, Richard F. (1997). Defining Russia Musically: Historical and Hermeneutical Essays, p.457. ISBN 9780691070650.
- ^ a b c d e f g h i j Ramey, Phillip (2005). Irving Fine: An American Composer in His Time, p.49-50. ISBN 9781576471166.
- ^ a b c d e Marta Robertson, Robin Armstrong, Robin Armstrong (2001). Aaron Copland: A Guide to Research, p.50. ISBN 9780815321781.
- ^ a b c d e f Berger, Arthur (2002). Reflections of an American Composer, p.246. ISBN 9780520232518. Cites Copland, Aaron (1949). "Influence, Problem, Tone", Stravinsky: In the Theatre, p.122.
- ^ Moore, Laura McDonald (2008). "Holy Sonnets: La Corona" of Louise Talma: Selected Elements of Texture, Technique, and Text, p.13. ISBN 9780549691990. Cites Berger, Arthur (June 1955). "Stravinsky and the Younger Composers", Score no 12, p.41.
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