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Much of
Kupferman's music contains large gestures and short dramatic hooks which are a critical to his compositional technique (his "gestalt form"). His works are eclectic syntheses of disparate elements. Their extremes of contrast, and outrageousness were reflections of his personal life.
139:. In 1951 he was hired as Professor of Composition and Chamber Music at Sarah Lawrence College, a position he held until 1994. In the 1950s he began to experiment with twelve-tone row techniques, and in 1961 devised his "Infinities Row," consisting of the group of notes of G–F–A
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Kupferman began music at the age of five on violin. As an adult he claimed little memory of his violin instruction, but at age 10 he began to play the clarinet. He taught himself piano and studied music theory at
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to Jewish parents. A self-taught composer, Kupferman first gained attention in the late 1940s when his early opera "In A Garden" was premiered at the
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Phillips, Robert, “Meyer
Kupferman’s Compositions with Classical Guitar”
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116:. He also served as Chairman of the Music Department for five terms.
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at the Milken
Archive of Jewish Music; accessed January 9, 2014
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http://www.jamesarts.com/internationalcomposer/kupferman.html
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As a young man
Kupferman played jazz in bars and clubs on
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vol. xxvii, nos. 3&4, Winter/Spring 2001, 7-14.
84:(July 3, 1926 – November 26, 2003) was an American
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112:. From 1951 to 1993 he was on the faculty of
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351:Soundspells Web Site (Kupferman's publisher)
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447:Classical musicians from New York (state)
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361:Meyer Kupferman on "New music Connoisseur
124:in New York City, subsequently attending
69:Learn how and when to remove this message
32:This article includes a list of general
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316:Meyer Kupferman collection, 1947-2003
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371:Interview with Meyer Kupferman
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298:Identifiers
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188:Filmography
171:Atonal Jazz
90:clarinetist
51:introducing
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257:Soundboard
228:References
106:Tanglewood
34:references
137:big bands
288:Location
166:♯
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199:(1961)
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