of Coplands departure from his normal musical composition, many of the composers with whom Copland associated did not like the change in Coplands style. Coplands refusal to succumb to such criticism is not surprising. He had always done his own thing and made the music he wanted to. Although his true calling was composing more classical pieces, he also enjoyed the opportunity to reach a larger audience by changing his style every now and again. His delve into more popular music was criticized, but Copland found it to be extremely insightful. He says that it gave him the chance to remember how to incorporate such influences of grass roots music (such as jazz) into his works. By the end of the 1930s, Copland was returning to his American roots. At this time, he composed what he calls his most well received work. This work was Billy the Kid. This ballet incorporates many elements of America while at the same time producing wonderful music that advances American composition. Critics and audiences both loved the piece, and Coplands popularity grew. He was hired to score many movies, including such classical works as Of Mice and Men and Our Town. By the end of the first book, Copland: 1900 through 1942, Copland had fortified himself as one of the leading voices in American music, and as a result, he became a voice for American culture. Along with other American composers, Copland gave America the opportunity to show that Europe alone did not control the evolution of music, whether classical or otherwise. By the beginning of the second book, Coplands place in history was already secure. At the beginning of Copland and Perlis second book, the opportunity for Copland to score another movie is discussed. As earlier stated, Copland had already been able to examine grass roots musical influences of America and Mexico. The movie, The North Star, gave Copland the chance to discover another countrys culture. This time, it was Russia...
