{"id":{"repo_id":"unt","oai_identifier":"info:ark/67531/metadc4195"},"canonical_url":"https://search.dev.ndltd.org/etd/unt/info:ark/67531/metadc4195","repository":{"repo_id":"unt","name":"University of North Texas","base_url":"https://digital.library.unt.edu/oai/"},"display":{"title":"The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for The Red Pony","abstract":"Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of \"assembly,\" augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.","abstract_html":"Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of "assembly," augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.","abstract_has_math":false,"creators":["McGinney, William Lawrence"],"institution":"University of North Texas","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Cooper, J. Michael","Illari, Bernardo","McKnight, Mark, 1951-","Notley, Margaret Anne"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2003,"date_issued":"2003-05","date_published":"2003-05","updated_at":"2026-07-24T05:35:09Z","subjects":["Copland, Aaron, 1900-1990. Red pony. Suite.","Hollywood","film scores","assembly","film music"],"languages":["English"],"rights":["Public","Copyright","McGinney, William Lawrence","Copyright is held by the author, unless otherwise noted. All rights reserved."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oclc: 53244311","https://digital.library.unt.edu/ark:/67531/metadc4195/","ark: ark:/67531/metadc4195"],"render_values":[{"text":"oclc: 53244311","href":null,"code":true},{"text":"https://digital.library.unt.edu/ark:/67531/metadc4195/","href":"https://digital.library.unt.edu/ark:/67531/metadc4195/","code":true},{"text":"ark: ark:/67531/metadc4195","href":null,"code":true}]}]},"links":{"outbound_url":"https://doi.org/10.12794/metadc4195","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Cooper, J. 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Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score."]},{"key":"dc:format","label":"Dc Format","values":["Text"]},{"key":"dc:title","label":"Title","values":["The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for The Red Pony"]}]}],"canonical_facts":{"dc:contributor":["Cooper, J. Michael","Illari, Bernardo","McKnight, Mark, 1951-","Notley, Margaret Anne"],"dc:creator":["McGinney, William Lawrence"],"dc:date":["2003-05"],"dc:description":["Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of \"assembly,\" augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score."],"dc:format":["Text"],"dc:identifier":["oclc: 53244311","doi: 10.12794/metadc4195","https://digital.library.unt.edu/ark:/67531/metadc4195/","ark: ark:/67531/metadc4195"],"dc:language":["English"],"dc:publisher":["University of North Texas"],"dc:rights":["Public","Copyright","McGinney, William Lawrence","Copyright is held by the author, unless otherwise noted. All rights reserved."],"dc:subject":["Copland, Aaron, 1900-1990. Red pony. Suite.","Hollywood","film scores","assembly","film music"],"dc:title":["The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for The Red Pony"],"dc:type":["Thesis or Dissertation"]},"updated_at":"2026-07-24T05:35:09Z"}