frustrating. After composing a number of "Sonata-form" musical pieces with Goldmark, Copland decided he needed a change of scenery. In 1921, Copland decided to study in France. Even as Copland left his old teacher, Goldmark stressed his traditional ideals. Before Coplands departure, Goldmark wrote: "I hope you will make more progress in the Sonata formEven if you should fall into the hands of some radicals."(pp. 35)In France, Copland found a new teacher in Nadia Boulanger. Boulanger quickly proved to be on of the "radicals" that Goldmark feared so much. Under his new teacher, Copland was encouraged to delve into new rhythms and musical techniques. He was encouraged to express his American background by incorporating jazz and other influences into his music. As a result, his music remained distinctly American and did not merely imitate the more traditional European artists.Copland returned to America, New York in particular, in 1924. He quickly began work on a piece that was to be performed by the New York Symphony Orchestra. This work was called The Symphony for Organ and Orchestra. The piece did a good job of affirming Copland as one of Americas brightest new stars. Some critics panned the piece, but most enjoyed its originality. In fact, the work was even called "the voice of America" (pp. 104). This can no doubt be attributed to the large influence of jazz on Coplands music. This influence gave Coplands music an American sound that differed from the more traditional works of classical composers. Copland followed this work with more "American" compositions that the composer played throughout the country, and even in South America. As many composers do, Copland found himself constantly searching for a steady income. At this time in his life, Copland thought it would be best to slow down a little bit and gather himself. He was offered a position teaching at the New School for Social Research. Although the mo...
