AMERICAN MUSIC SERIES 70 a-b
Minna Lederman Daniel on Modern Music
with Vivian Perlis
New York.City
February 22, 1979, and
March 21, 1979
TABLE OF CONTENTS
Tape a pp. 1-10
Modern Music magazine‑‑founding‑‑function‑‑League of Composers' executive board‑‑other music societies‑‑split between International Composers' Guild and League of Composers‑‑Varése, Salzedo‑‑origin of Modern Music‑‑ignorance of contemporary music‑‑Musical America‑‑Musical Courier‑‑Etude‑‑Musical Quarterly‑‑European publications‑‑publication of the League of Composers' Review‑‑success with press‑‑Modern Music a product of New York in the 20's‑-casualness‑‑spare operation‑‑public relations for the League‑‑help of newspaperman‑‑small staff the last two years‑‑triumph with press‑‑change in title‑‑wider scope‑‑style and content‑‑austerity‑‑Alma Wertheim‑‑ restriction of space influenced style‑‑intelligibility of style‑‑openness to opinions on contemporary music‑‑loose on content, tight in style‑‑goal to reach a literate public‑‑Modern Music not by or for composers only‑‑about composers‑-in opposition to press which was slanted toward performers‑‑composers' alliance with performers‑‑Norman Dello Joio‑‑Carter‑‑Cage‑‑scholarly contributions‑-Alfred Einstein‑‑majority of contributors not composers‑‑increase in composers as contributors‑‑tone established by composers‑‑piece by Copland‑‑young American composers suggested by Copland.
Tape b pp. 10-17
Copland‑Sessions period‑‑Edwin Denby‑‑the dance‑‑Virgil Thomson‑‑unsolicited authors‑‑Schoenberg‑‑Stravinsky and Hindemith not represented‑‑Berg‑‑medium for composers' self‑expression‑‑openness to everything related to contemporary music‑‑general magazine with contemporary music as its focus‑‑expansion‑connections world‑wide‑‑fund‑raising‑‑Rockefeller Brothers Fund‑‑demise of Modern Music‑‑laurels‑‑Gus Schirmer‑‑chief accomplishments‑‑Wozzeck, Lulu‑-Ives‑‑Thomson on Copland‑‑Piston on Harris‑‑Copland on scores and records‑-Thomson on theatre‑‑Denby on dance‑‑Blitzstein on movies and theatre‑‑Carter‑McPhee on Harlem, Bali‑‑Bowles on movies and theatre‑‑Cage‑‑Harrison‑‑Cowell‑-magazine as reflection of the period‑‑personal feelings‑‑literature about the music‑‑the best words‑‑need for general magazine about music centered on the contemporary world‑‑regret at passing of magazine.
AMERICAN MUSIC SERIES 70 c-e 1
Minna Lederman Daniel
with Vivian Perlis
Tomking Cove, New York
October 25, 1972
TABLE OF CONTENTS
Side C: pp. 1-9
Work with piano teacher--college--training in dance--newspaper work--Claire Reis--International Composers’ Guild--League of Composers--establishing the magazine (Modern Music)--Alma Wertheim--Drama League--financing--charge of favoritism--Aaron Copland--Virgil Thomson--Paul Bowles--Roger Sessions--approach, direction taken by Modern Music--commissioning performers to do a piece: Elliott Carter.
Side D: pp. 10-20
Issues confronted in the magazine: Why is modern music not more popular?--Copland’s shift to using folk material--modern painting--league commissioning of works--formation of the ACA--her first meeting with Copland--Paul Rosenfeld--Copland playing his The Cat and the Mouse for Alma Wertheim--Virgil Thomson--composers who were also good writers--circulation of the magazine--budget--advertising
Side E: pp. 21-32
Reaction to the magazine--movie reviews--Russian coverage--German coverage--Daniel as editor--Copland and Thomson’s help--aspiring to a lucid writing style in the magazine--Roger Sessions--Perspectives--purpose of Modern Music--Paul Bowles article on calypso--controversial material--George Antheil--Ezra Pound--John Cage--controversy between the various organizations--Varèse--Ruggles--Stokowski.
