Critic, Writer, and Teacher
Starting with his first critiques in 1924, Copland began a long career as music critic, teacher, and observer, mostly of contemporary classical music. He was an avid lecturer and lecturer-performer. He wrote reviews of specific works, trends, composers, festivals, books about music, and recordings. He took on a wide range of issues from the most general ("Creativity") to the most practical ("Composer Economics"). Copland also wrote three books, "What to Listen for in Music (1939)", "Our New Music (1941)", and "Music and Imagination" (1952). He had a long list of notable students (see below). Copland put a good deal of time and energy into supporting young musicians, especially through his association with the Berkshire Music Center at Tanglewood, both as a guest conductor and teacher. In working with young composers, Copland thought it more important to focus on expressive content than on technical points.
Read more about this topic: Aaron Copland
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“Parents do not give up their children to strangers lightly. They wait in uncertain anticipation for an expression of awareness and interest in their children that is as genuine as their own. They are subject to ambivalent feelings of trust and competitiveness toward a teacher their child loves and to feelings of resentment and anger when their child suffers at her hands. They place high hopes in their children and struggle with themselves to cope with their children’s failures.”
—Dorothy H. Cohen (20th century)