![]() ![]() ![]() Originally a violin prodigy when the composer met him in 1932, Kraft gave up music to pursue a career in photography, in part due to Copland's urging. He found much of what he heard dull and impersonal. Copland revised his text 'The New Music' with comments on the styles that he encountered. ![]() While in Japan, he was taken with the work of and began a correspondence with him that would last over the next decade. Despite any difficulties that his suspected Communist sympathies might have posed, Copland traveled extensively during the 1950s and early 60s to observe the styles of Europe, hear compositions by Soviet composers not well known in the West and experience the new school of Polish music. While these attacks actually began at the end of the 1930s with the writings of and for, they were based in anti-Stalinist politics and would accelerate in the decades following World War II. Beginning in the 1940s, intellectuals assailed Popular Front culture, to which Copland's music was linked, and labeled it, in Dickstein's words, as 'hopelessly middlebrow, a of art into toothless entertainment.' They often linked their disdain for Populist art with technology, new media and mass audiences-in other words, the areas of radio, television and motion pictures, for which Copland either had or soon would write music, as well as his popular ballets.
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