LYCOS RETRIEVER 
Copland
built 622 days ago
Parts of the future Copland system were demonstrated at Apple's World Wide Developer's Conference in May 1994, notably an early version of the new file system. Apple ... promised that a beta release would be ready by the end of the year, for full release in early 1995. Throughout the year, Apple released a number of mock-ups to various magazines showing what the new system would look like, and commented continually that the company was fully committed to this project. By the end of the year, however, the developer release was nowhere in sight.
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Copland's first official Hollywood project was an adaptation of the famous John Steinbeck novella about migrant workers in Depression-era California. "Here was an American theme," said Copland, "by a great American writer, demanding appropriate music." According to historian Sally Bick, "The choice to use Copland was daring. An outsider to Hollywood...his reputation had been based upon his prestige...as a modernist." (Lewis Milestone, 1939, 35mm, 106 mins.)
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Copland has a solution. You can tell Copland to treat a service as either a prototype service (meaning it will be instantiated every time you ask for it, like calling #new), or a singleton service (meaning it will only be instantiated once, and the same instance will be returned for subsequent requests).
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Rather than one-person shows, Copland and Sessions staged group events. For Copland, this signaled the beginning of a lifelong mission--to cultivate change through building community and gain power through collective action. By the time the Copland-Sessions concerts ended in 1931, they had presented ten events–eight in New York and one each in Paris and London–featuring music by over thirty composers. The first piano sonatas of Roger Sessions and Roy Harris received their premieres at these concerts, as did Henry Cowell's Paragraphs for Two Violins and Cello, to cite only a few examples. For works such as Virgil Thomson's Capital, Capitals and Copland's Two Pieces for String Quartet, the series provided an opportunity for their first performance in New York, following a debut abroad. There was even a night devoted to music with film, highlighting a relatively new medium.
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Copland began his study of music with piano lessons from his older sister. He soon turned to other teachers, and began attending symphonic concerts, soaking up the music of the standard symphonic repertoire. While in high school, he studied harmony, counterpoint, and orchestration with Rubin Goldmark, who tried to steer his tastes down a conservative path. But at age twenty, Copland left New York to study in Paris with Nadia Boulanger, who was to serve as a teacher and mentor to many of the leading composers of the century. In Paris, and in his travels through Europe, he was exposed to a wide variety of new styles. He returned to a New York that was in the midst of an artistic and social revival, and he immediately became a part of that renewal.
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Copland was born in New York City on November 14, 1900. He studied in New York City with the American composer Rubin Goldmark and in Paris with the influential French teacher Nadia Boulanger. Although his earliest work was heavily influenced by the French impressionists, he soon began to develop a personalized style. After experimenting with jazz rhythms in such works as Music for the Theater (1925) and the Piano Concerto (1927), Copland turned to more austere and dissonant compositions. Concert pieces such as the Piano Variations (1930) and Statements (1933-1935) rely on nervous, irregular rhythms, angular melodies, and highly dissonant harmonies.
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Copland