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University of Southern Mississippi sophomore Mary Ann Stewart of Montevello, Ala., plays her flute during a Tuesday Dec. 3, 2002 rehearsal session for the university's nationally recognized Wind Ensemble on the Southern Miss campus in Hattiesburg, Miss. (AP Photo/University of Southern Mississippi, Steve Rouse)
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The development of the arts in America has been marked by a tension between two strong sources of inspiration - European sophistication and domestic originality. Until the end of the 19th century, there really was no distinctive classical music, e.g. symphony, opera, chamber music, sonata etc., in America. As late as 1895, the composer Antonin Dvorak felt the need to urge American composers to look to their native sources for inspiration and material. He offered his “New World” Symphony (stirred by our spirituals and Indian rhythms) as an example of what could be achieved.
With the advent of the 20th century, sparked by the immigrant urge to assimilate, isolationism, the excitement of jazz, and a “can-do” spirit, American composers started to create an astounding variety of distinctively American classical music. Composers such as George Gershwin and Aaron Copland incorporated homegrown melodies and rhythms into forms borrowed from Europe. Music composition of the greater part of the 20th century, especially the period after World War II, is characterized by experimentation and a constant search for new systems of writing music, new forms and new styles.
In 1845, the presentation of Leonora by William Henry Fry was the first known performance of an opera by an American composer. Many early American operas took classical or European stories for their subjects, but by the end of the 19th century, composers increasingly turned to American themes. Nowadays, opera - old and new - is flourishing; because it is so expensive to stage, however, it depends heavily on the generosity of corporate and private donors.
Music produced in the last forty years used extremely new and experimental styles. Some composers, like Edgar Varese, completely rejected traditional melody and harmony while others, like John Cage for example, experimented with electronic music and natural sounds from real life. Both Varese and Cage had enormous influence on contemporary composers, not only of classical music but of other genres as well. Some orchestra directors have found a way to keep mainstream audiences happy while introducing new music. Rather than segregate the new pieces, these directors program them side-by-side with traditional fare.
Abridged from U.S. State Department IIP publications and other U.S. government materials.
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