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Mavericks
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This chapter focuses on the concept of “maverick,” a term as American as the Stars and Stripes that the notion of the “maverick composer” is likewise unique to the United States. An important handful of American composers in the postwar years demonstrated a comparable lack of interest not in music but in the traditional business of music-making. As much as they could, they avoided the universities that supported so many of the modernists. They avoided, too, the opera companies and symphony orchestras that through commissions and performances supported so many of the mainstreamers. Occasionally, they banded together in collectives whose members pursued similar goals and thus were mutually influential. However, most of the time, the maverick composers of the Fifties marched to the beats of very different drummers.
Title: Mavericks
Description:
This chapter focuses on the concept of “maverick,” a term as American as the Stars and Stripes that the notion of the “maverick composer” is likewise unique to the United States.
An important handful of American composers in the postwar years demonstrated a comparable lack of interest not in music but in the traditional business of music-making.
As much as they could, they avoided the universities that supported so many of the modernists.
They avoided, too, the opera companies and symphony orchestras that through commissions and performances supported so many of the mainstreamers.
Occasionally, they banded together in collectives whose members pursued similar goals and thus were mutually influential.
However, most of the time, the maverick composers of the Fifties marched to the beats of very different drummers.
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