{"id":8098,"date":"2023-11-01T12:23:38","date_gmt":"2023-11-01T17:23:38","guid":{"rendered":"https:\/\/pages.stolaf.edu\/americanmusic\/?p=8098"},"modified":"2023-11-01T12:24:28","modified_gmt":"2023-11-01T17:24:28","slug":"cultural-exchange-between-chavez-and-copland","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/americanmusic\/2023\/11\/01\/cultural-exchange-between-chavez-and-copland\/","title":{"rendered":"Cultural Exchange between Ch\u00e1vez and Copland"},"content":{"rendered":"<p><span style=\"font-weight: 400\">Aaron Copland and Carlos Ch\u00e1vez met in New York in 1926, both young and only at the beginning of their long and influential careers.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1 <\/sup><\/a>They became close friend, and although much of their relationship was long distance, they maintained a strong connection, \u201cmentally and spiritually and musically.\u201d<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>2 <\/sup><\/a>The long lasting bond between the composers can be partially attested to their natural fondness for each other and additionally to the similarities between them.\u00a0<\/span><\/p>\n<div id=\"attachment_8099\" style=\"width: 420px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/pages.stolaf.edu\/americanmusic\/2023\/11\/01\/cultural-exchange-between-chavez-and-copland\/copland-chavez\/\" rel=\"attachment wp-att-8099\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8099\" class=\"wp-image-8099\" src=\"https:\/\/pages.stolaf.edu\/americanmusic\/wp-content\/uploads\/sites\/593\/2023\/11\/copland-chavez-300x199.jpg\" alt=\"\" width=\"410\" height=\"277\" \/><\/a><p id=\"caption-attachment-8099\" class=\"wp-caption-text\">Aaron Copland and Carlos Ch\u00e1vez<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>3<\/sup><\/a><\/p><\/div>\n<p><span style=\"font-weight: 400\">Born a year apart, they both began musical study on piano before pursuing composition and harmony lessons in their teens.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>4 <\/sup><\/a>Additionally, both studied in Europe in the 1920s, where they were exposed to the latest innovations in art music.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>5 <\/sup><\/a>Over the course of their careers, the two seemed to develop a similar approach to modern composition in relationship to national identity. They both found the use of folk music as an effective way to create a distinctive \u201cNew World\u201d sound.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>6 <\/sup><\/a>Many of Copland&#8217;s most beloved works, such as <\/span><i><span style=\"font-weight: 400\">El Sal\u00f3n M\u00e9xico<\/span><\/i><span style=\"font-weight: 400\"> and <\/span><i><span style=\"font-weight: 400\">Short Symphony<\/span><\/i><span style=\"font-weight: 400\"> quote or incorporate the sounds of Mexico that he encountered on his many trips to visit Ch\u00e1vez. Similarly, Ch\u00e1vez\u2019s works were celebrated by Mexican musicians for establishing a modernist, Mexican sound with use of Mexican folk music.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>7<\/sup><\/a><br \/>\n<\/span><\/p>\n<p><iframe title=\"Spotify Embed: El Sal\u00f3n M\u00e9xico\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/6nrYxPub6J1Buu7ScnRk7u?si=3cf308bef8584093&#038;utm_source=oembed\"><\/iframe><\/p>\n<p><a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>8<\/sup><\/a><\/p>\n<p><span style=\"font-weight: 400\">Copland admired Ch\u00e1vez\u2019s non-European sound and \u201ccomplete overthrow of nineteenth-century ideals.\u201d<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>9 <\/sup><\/a>Similarly, Ch\u00e1vez deemed Copland\u2019s works as, \u201cgenuinely American,\u201d and \u201cthe music of our time.\u201d<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>10 <\/sup><\/a>Their mutual respect for each other helped facilitate a cultural exchange of a new musical sound. Both Copland and Ch\u00e1vez introduced, programmed, and conducted the works of the other in their respective geographical locations.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>11 <\/sup><\/a>The quintessential American sound of the 20th century must be not only attributed to Aaron Copland, but Carlos Ch\u00e1vez and the close relationship between them.<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">1 <\/a>POLLACK, HOWARD. \u201cAaron Copland, Carlos Ch\u00e1vez, and Silvestre Revueltas.\u201d In <i><span style=\"font-weight: 400\">Carlos Chavez and His World<\/span><\/i><span style=\"font-weight: 400\">, edited by LEONORA SAAVEDRA, 99\u2013110. Princeton University Press, 2015. <\/span><a href=\"http:\/\/www.jstor.org\/stable\/j.ctt1cg4n5s.11\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400\">http:\/\/www.jstor.org\/stable\/j.ctt1cg4n5s.11<\/span><\/a><span style=\"font-weight: 400\">.\u00a0<\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">2 <\/a>Copland, Aaron, Elizabeth B Crist, and Wayne Shirley. The Selected Correspondence of Aaron Copland. 1st ed. New Haven: Yale University Press, 2006.<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">3 <\/a>Copland, Aaron. Aaron Copland and Carlos Ch\u00e1vez. , . [Date of production not identified] Photograph. <a href=\"https:\/\/www.loc.gov\/item\/2023781702\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400\">https:\/\/www.loc.gov\/item\/2023781702\/<\/span><\/a><span style=\"font-weight: 400\">.<\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">4 <\/a>Parker, Robert L. \u201cCopland and Ch\u00e1vez: Brothers-in-Arms.\u201d <i><span style=\"font-weight: 400\">American Music<\/span><\/i><span style=\"font-weight: 400\"> 5, no. 4 (1987): 433\u201344. https:\/\/doi.org\/10.2307\/3051451.\u00a0<\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">5 <\/a>Ibid.<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">6 <\/a>Murchison, Gayle. \u201c\u2018Folk\u2019 Music and the Popular Front: El Sal\u00f3n M\u00e9xico.\u201d In <i><span style=\"font-weight: 400\">The American Stravinsky: The Style and Aesthetics of Copland\u2019s New American Music, the Early Works, 1921-1938<\/span><\/i><span style=\"font-weight: 400\">, 190\u2013207. University of Michigan Press, 2012. http:\/\/www.jstor.org\/stable\/j.ctv3znzqf.15.\u00a0<\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">7 <\/a>MIRANDA, RICARDO. \u201c\u2018The Heartbeat of an Intense Life\u2019: Mexican Music and Carlos Ch\u00e1vez\u2019s Orquesta Sinf\u00f3nica de M\u00e9xico, 1928\u20131948.\u201d In <i><span style=\"font-weight: 400\">Carlos Chavez and His World<\/span><\/i><span style=\"font-weight: 400\">, edited by LEONORA SAAVEDRA, 46\u201361. Princeton University Press, 2015. http:\/\/www.jstor.org\/stable\/j.ctt1cg4n5s.8.<\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">8 <\/a>\u201cEl Sal\u00f3n M\u00e9xico.\u201d Spotify, January 1, 1960. https:\/\/open.spotify.com\/track\/6nrYxPub6J1Buu7ScnRk7u?si=e27ee74bd90a4820.<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">9 <\/a>Ibid.<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">10 <\/a>Ibid.<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">11<\/a> Ibid.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Aaron Copland and Carlos Ch\u00e1vez met in New York in 1926, both young and only at the beginning of their long and influential careers.1 They became close friend, and although much of their relationship was long distance, they maintained a &hellip; <a href=\"https:\/\/pages.stolaf.edu\/americanmusic\/2023\/11\/01\/cultural-exchange-between-chavez-and-copland\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":5147,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1397],"tags":[308,470,292,1362,341,330,1512],"class_list":["post-8098","post","type-post","status-publish","format-standard","hentry","category-fall-2023-mus-345-b","tag-aaron-copland","tag-american-folk-music","tag-american-music","tag-art-music","tag-carlos-chavez","tag-correspondence","tag-mexican-folk-music"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7jEhR-26C","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/8098","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/users\/5147"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/comments?post=8098"}],"version-history":[{"count":6,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/8098\/revisions"}],"predecessor-version":[{"id":8105,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/8098\/revisions\/8105"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/media?parent=8098"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/categories?post=8098"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/tags?post=8098"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}