He became a frequent guest conductor of orchestras in the U.S.īeginning 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. From the 1960s onward, Copland's activities turned more from composing to conducting. 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. After he had been exposed to the works of French composer, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), for orchestra (1961) and for orchestra (1967). During the late 1940s, Copland became aware that and other fellow composers had begun to study 's use of. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer and began composing his signature works. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of ('music for use'), music that could serve utilitarian and artistic purposes.

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