Re: "authentic" American music

[Trudi Goodman <goobietheg...>]

    I thought Dimitri Tiomkin wrote Mag. 7?
    I'd also state that Ferde Grofe, who orchestrated Gershwin as well as 
writing film scores.
     Trudi the G


>From: BarMusProd (at) aol(dot)com
>Reply-To: jewish-music (at) shamash(dot)org
>To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
>Subject: Re: "authentic" American music
>Date: Tue, 7 Mar 2000 15:14:14 EST
>
>Dear Richard and Listers:
>In a message dated 3/7/00 12:41:21 PM, rlcm17 (at) hotmail(dot)com writes:
>
> >At one of this past weekend's BAM seminars in re Kurt Weill (and THE 
>ETERNAL
> >
> >ROAD), Leon Botstein, I think, remarked that Brooklyn Jewish boy Copland
> >
> >wrote the quintessential open-spaces Americana (I actually can't remember
> >
> >which piece he's referring to) that became (sadly) the Marboro Man music.
> >
> >He definitely saw it as specifically growing out of his marginality, or
> >
> >sense of marginality. -- Robert Cohen
>
>Well, shame on Mr. Botstein. The music that Aaron Copland wrote that is
>"quintessential open-spaces Americana" that he was referring to was 
>probably
>"Appalachian Spring" (a ballet written for Martha Graham), but he might 
>also
>have been referring to another masterful Copland ballet "Billy the Kid,"
>which is also "quintessential open-spaces Americana." The Marlboro Man 
>music
>(for those of us old enough to remember it) was actually taken from the 
>theme
>from the movie "The Magnificent Seven," written by another great Jewish 
>film
>composer, Elmer Bernstein. If you're wondering about royalties, remember 
>that
>a movie score is a work made for hire and is owned by the film company, not
>the composer. They may do anything they want with it, including license it
>out for commercial use.
>
>Best wishes,
>Steve
>
>Steve Barnett
>Composer/Arranger/Producer
>Barnett Music Productions
>BarMusProd (at) aol(dot)com
>
>

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