Aaron Copland ( KOHP-lənd; November 14, 1900 – December 2, 1990) was an American composer, critic, writer, teacher, pianist, and conductor of his own and other American music. Copland was referred to by his peers and critics as the "Dean of American Music". The open, slowly changing harmonies in much of his music are typical of what many consider the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which he called his "vernacular" style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera, and film scores. After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. But he found that composing orchestral music in a modernist style, which he had adopted while studying abroad, was unprofitable, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style that mirrored the German idea of Gebrauchsmusik ("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez, and began composing his signature works. During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961), and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.

Aaron Copland ( KOHP-lənd; November 14, 1900 – December 2, 1990) was an American composer, critic, writer, teacher, pianist, and conductor of his own and other American music. Copland was referred to by his peers and critics as the "Dean of American Music". The open, slowly changing harmonies in much of his music are typical of what many consider the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which he called his "vernacular" style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera, and film scores. After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. But he found that composing orchestral music in a modernist style, which he had adopted while studying abroad, was unprofitable, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style that mirrored the German idea of Gebrauchsmusik ("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez, and began composing his signature works. During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961), and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.

This is a list of compositions by Aaron Copland (1900–1990) in chronological order of composition:

Four Piano Blues is a collection of pieces for piano by American composer Aaron Copland. The collection was composed between 1926 and 1948.

This is a list of compositions by Aaron Copland (1900–1990) in chronological order of composition:

Danzón cubano is a composition for two pianos by American composer Aaron Copland. The piece, written in 1942, was inspired by the Cuban genre of the same name. It was first arranged for orchestra in 1946.

This is a list of notable events in music that took place in the year 1964.

This is a list of compositions by Aaron Copland (1900–1990) in chronological order of composition:

Stewart Armstrong Copeland (born July 16, 1952) is an American musician and composer. He is best known as the drummer of the English rock band the Police (1977–86, 2007–08). Before the Police, he played drums with the progressive rock band Curved Air (1975–76). As a composer, Copeland's work includes the scores of the films Wall Street (1987), Men at Work (1990), Good Burger (1997), and We Are Your Friends (2015); the theme music for television shows The Equalizer, The Amanda Show, and Dead Like Me; and the scores for video games in the Spyro series and Alone in the Dark: The New Nightmare. He has also written pieces for ballet, opera, and orchestra. According to MusicRadar, Copeland's "distinctive drum sound and uniqueness of style has made him one of the most popular drummers to ever get behind a drumset". He was ranked the 10th-best drummer of all time by Rolling Stone in 2016. He was inducted into the Rock and Roll Hall of Fame as a member of the Police in 2003, the Modern Drummer Hall of Fame in 2005, and the Classic Drummer Hall of Fame in 2013.

This is a list of compositions by Aaron Copland (1900–1990) in chronological order of composition:

Night-Thoughts is an 18th-century poem by Edward Young. Night Thoughts or Night Thought may also refer to: Night Thoughts of a Classical Physicist, a 1982 novel by Russell McCormach Night Thoughts (audio drama), a 2006 Doctor Who audio drama Night Thoughts (album), a 2016 album by Suede Night Thoughts, an album by Justin Connolly "Night-Thoughts" (piano piece), a 1972 composition by Aaron Copland Night Thoughts, a 1940 work for piano by William Alwyn Night Thoughts, a 1982 composition for solo flute by Nicholas Maw

Aaron Copland ( KOHP-lənd; November 14, 1900 – December 2, 1990) was an American composer, critic, writer, teacher, pianist, and conductor of his own and other American music. Copland was referred to by his peers and critics as the "Dean of American Music". The open, slowly changing harmonies in much of his music are typical of what many consider the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which he called his "vernacular" style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera, and film scores. After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. But he found that composing orchestral music in a modernist style, which he had adopted while studying abroad, was unprofitable, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style that mirrored the German idea of Gebrauchsmusik ("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez, and began composing his signature works. During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961), and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.

This is a list of compositions by Aaron Copland (1900–1990) in chronological order of composition:

The Piano Variations of American composer Aaron Copland were written for piano solo from January to October 1930. They were dedicated to American writer and literary critic Gerald Sykes (c. 1904–1984), and were originally published in 1932 by Cos Cob Press, which merged with Arrow Music Press in 1938 and was taken over by Boosey & Hawkes in 1956. The approximate performance time is 11 minutes.

Leonard Bernstein's Sonata for Clarinet and Piano, written during 1941–42 and published in 1942, was Bernstein's first published piece. It is dedicated to clarinetist David Oppenheim, whom Bernstein met while studying conducting with Serge Koussevitzky at Tanglewood during the summers of 1940 and 1941.

A piano sonata is a sonata written for a solo piano. Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement (Liszt, Scriabin, Prokofiev, Berg), others with two movements (Haydn, Beethoven), some contain five (Brahms' Third Piano Sonata, Czerny's Piano Sonata No. 1, Godowsky's Piano Sonata) or even more movements. The first movement is generally composed in sonata form.

The Piano Variations of American composer Aaron Copland were written for piano solo from January to October 1930. They were dedicated to American writer and literary critic Gerald Sykes (c. 1904–1984), and were originally published in 1932 by Cos Cob Press, which merged with Arrow Music Press in 1938 and was taken over by Boosey & Hawkes in 1956. The approximate performance time is 11 minutes.

This is a list of compositions by Aaron Copland (1900–1990) in chronological order of composition:

The Cat and The Mouse is a composition by the American classical music composer Aaron Copland. The first of his works to be published, it was written shortly before he began his schooling in Paris, France in 1921. It was based on Jean de la Fontaine's fable of The Old Cat and the Young Mouse and bears a resemblance to the slightly earlier O gato e o rato by Brazilian composer Heitor Villa-Lobos.