Aaron Copland Photos, 1964, 1966 - 1967, 1970
Scope and Contents note
Photography has always been important to the National Music Camp, and photos exist from the earliest years of the Camp. Beginning in circa 1944, a concerted effort was made each year to fully document camp life. A professional photographer was on site throughout the season, taking high quality, usually staged, photographs. These consisted of group shots of each of the camper cabins, and numerous individual shots of campers and instructors. These photos were developed on-site in the campus darkroom.
The campers at NMC were divided into age groups called Junior, Intermediate and High School. There was also a University contingent from the University of Michigan for many years. The sequence of negatives reflects these divisions. Two other typical divisions are General camp photos and Post-camp photos. General photos are often simply of the High Schoolers who constituted the majority of the campers at NMC, but also include more generic and candid shots of camp life. Post-camp indicates that camp had concluded, and these photos document the routines associated with closing down the camp for the summer.
When the Arts Academy began in the 1962-63 school year, the tradition of photography was continued, and similar high-quality shots were taken of the students. Theses are generally all numbered sequentially, and not divided into the four classes of Freshman, Sophomore, etc. It was around this time that the 4 x 5 large format was supplemented, and then supplanted, by the 120 film medium format, approximately 2.25" x 2.25".
- 1966 - 1967
Biographical / Historical
Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer, composition teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his peers and critics as "the Dean of American Composers." The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which the composer labeled his "vernacular" style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres including chamber music, vocal works, opera and film scores.
After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. He found composing orchestral music in the modernist style he had adapted abroad a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik ("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.
During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.
19 Photographic Prints : 1 - 5" x 7" - b&w print of Copland holding ice cream cone, in front of Melody Freeze window 1 - 8" x 10" - b&w copy of above print Copland holding ice cream cone, in front of Melody Freeze window 2 - 8" x 10" - b&w print, close up of Copland conducting 1 - 8" x 10" - b&w print of Copland speaking to Orch/Band, both hands raised 1 - 8" x 10" - b&w print of Copland conducting, smiling 1 - 8" x 10" - b&w print of Copland shaking hands with George C. Wilson at TC airport, plane and debarking passengers in background 1 - 8" x 10" - b&w print of Copland posing in front of fence at TC airport 1 - 8" x 10" - b&w print of Copland, holding cookie & tea cup, speaking to 2 male IAA students 2 - 8" x 10" - b&w prints of Copland sitting in desk chair with sheet music, surrounded by students 3 - 8" x 10" - b&w prints, close ups of Copland speaking at podium; Symphonia 1970 3 - 8" x 10" - b&w prints of Copland on stage speaking at podium, Dr. Carl M. Neumeyer sitting on stage; Symphonia 1970 1 - 8" x 10" - b&w print of Copland sitting on stage while Dr. Carl M. Neumeyer speaks at podium; Symphonia 1970 1 - 8" x 10" - b&w print of Copland, George C. Wilson, and Dr. Carl M. Neumeyer posing in front of plane, at TC airport 1 - 8" x 10" - b&w print contact sheet of 5 film strips, 26 photos of Copland conducting
Language of Materials
Materials Specific Details
Negative numbers written on prints: 704 (1970); 14 ('70); 604 & 601 ('64 or '70); 585 ('70); #2906 ('66-'67 Neg missing); 677, 678, & 679 ('70); 683, 684, & 687 ('70); 586 ('70)
8" x 10" - print of Aaron Copland (right) shaking hands with George C. Wilson (left) at airport, plane and debarking passengers in background 8" x 10" - prints of Aaron Copland (center) sitting in desk chair with sheet music, surrounded by students (L to R: David Glass, Beth Levy, Sharon Birkman, Paul Epstein, Richard Mansfield, Michael Udow) 8" x 10" - prints of Aaron Copland (standing center) on stage speaking at podium, Dr. Carl M. Neumeyer sitting (left) on stage; Symphonia 1970 8" x 10" - print of Aaron Copland (left) sitting on stage while Dr. Carl M. Neumeyer (right) speaks at podium; Symphonia 1970 8" x 10" - print of Aaron Copland (center), George C. Wilson (left), and Dr. Carl M. Neumeyer (right) posing in front of plane, at airport
Part of the Archives of Interlochen Center for the Arts Repository
4000 Highway M-137
Interlochen MI 49643 USA