'A school of new men': Composing an American identity in the early twentieth century (Aaron Copland, Edward MacDowell, Arthur Farwell, Charles Ives)

The dissertation examines the efforts of American composers in the early twentieth century, contending that their struggle to create a larger public for modernist music grew out of a desire to give the artist a more vital role in American culture. By creating effective organizations and accessible music, Aaron Copland and a "school of new men" transformed the role of composers in American society.; At the beginning of the century, composers encountered many obstacles as they sought recognition at home and abroad. Eschewing the dependence on Romanticism that had characterized the efforts of Gilded Age composers such as Edward MacDowell and Arthur Farwell, Charles Ives developed an inchoate form of musical modernism by stressing the importance of innovation and authenticity. While his music represented a turning point in American culture, his approach to composition did not. Spending most of his musical career in isolation, the composer-turned-businessman did not alter the role of the artist in American society.; A new generation, led by Aaron Copland, made lasting inroads for American composers. Embracing modernism and the public role of the artist, Copland played a vital role in developing a sense of community among composers. At the same time, modernists composed and performed for a select audience, isolating themselves from the larger American public. When the Great Depression shrank this "special public," composers established a stronger connection with the masses, both through their music and their efforts as cultural spokesmen. Copland excelled at bridging the gap between artists and the wider public, particularly during World War II. While this ability made him one of the most successful composers in the nation, Copland chafed against the public's intolerance for unconventional music. In the postwar era, Copland secured his individual legacy, but his "school of new men" never flourished. Emerging composers such as Milton Babbitt turned inward, composing for themselves and fellow professionals. Only a few artists, such as Leonard Bernstein, continued to connect with a larger public. Nonetheless, Copland and his colleagues succeeded at making composers vital members of American culture.