Although they’re not exact contemporaries, these four American composers were all composing in the early decades of the twentieth century, in four fascinatingly different, highly distinctive ways. This course is a chance to meet them all, and get a sense of what American music meant to them over their idiosyncratic, and often wildly successful, careers. Break week: 28 Oct 2026
Learning modes and locations may be different depending on the course start date. Please check the location of your chosen course and read our guide to learning modes and locations to help you choose the right course for you.
Please note: We offer a wide variety of financial support to make courses affordable. Just visit our online Help Centre for more information on a range of topics including fees, online learning and FAQs.
This is a four-way exploration of music by four of the most influential American composers of the early twentieth century. Oldest among them is the radical Charles Ives (1874-1954), insurance salesman-cum-organist, whose extraordinary kaleidoscopic compositions bring together hymn tunes, folksongs and the sounds of the American city. George Gershwin (1898-1937) is one of the most famous songwriters of all time who famously dipped into concert music with his Rhapsody in Blue. Aaron Copland (1900-90) defined the US for a new generation of listeners and also worked closely with Mexican contemporaries, whilst Samuel Barber (1910-81) found enduring fame with works as different as the Adagio for Strings and Knoxville: Summer of 1915. We investigate their careers, seminal works, and the influences and models that made them who they were as composers.
What will we cover?
Key biographical information about each composer
Guided study of selected works by all four figures, including their most famous, and less well-known, pieces
The importance of European models on their development, and their search for an ‘American’ sound
The musical legacy they have left and how it’s shaped our ideas of what America ‘sounds’ like
What will I achieve? By the end of this course you should be able to...
Summarise the key career points of all four composers
List some of the details of their musical approaches in key works covered in class
Appreciate the importance of European influences on American music in the late nineteenth and twentieth centuries
Discuss what we mean when we talk about music ‘sounding American,’ and how that can vary between composers
What level is the course and do I need any particular skills?
The course is suitable for students at many levels, and no special music-reading skills are needed. However, a basic interest and beginners’ knowledge of classical music is advised for context: (e.g. What is a symphony? Which instruments are in a string quartet? And what do we mean by the Romantic tradition?)
This course is most suitable for those who regularly listen to classical music, as they will be able to compare/contrast the works on this course with memories of famous pieces of western classical music.
If you identify as an absolute beginner with little or no previous experience of listening to western classical music, we recommend you first consider our Exploring classical music courses which will introduce you to a basic chronology of western classical music.
How will I be taught, and will there be any work outside the class?
Sessions will comprise combinations of lecture, discussion, quizzes, guided listening, video and score study. Course materials (handouts, scores, links to online videos) will be shared via Google Classroom. You will be encouraged to do extra reading and listening outside class.
Are there any other costs? Is there anything I need to bring?
You may also wish to purchase some of the music books or recordings discussed in class, links to these materials will be available online in Google Classroom after each session.
When I've finished, what course can I do next?
To find out more about music history classes please visit Music history: your guide to our programme, which lists our full programme of classes ordered by term, and by day of the week. You may then click on each title to read the full course outline.
Dr Katy Hamilton is a freelance researcher, writer and presenter on music. She is fast becoming one of the UK’s most sought-after speakers on music, providing talks for a host of organisations including the Wigmore Hall, Southbank Centre, BBC Proms, Ryedale Festival and Oxford Lieder Festival. In addition, she regularly writes programme notes for the Salzburg Festival, North Norfolk Festival and the Philharmonia Orchestra, and is a frequent contributor to BBC Radio 3’s Record Review. Katy worked as Graham Johnson’s research assistant for his monumental Franz Schubert: The Songs and their Poets (Yale University Press, 2014) and is co-editor of Brahms in the Home and the Concert Hall (Cambridge University Press, 2014) and Brahms in Context (Cambridge University Press, 2019). In addition to her research and presentation work, Katy has taught at the Royal College of Music, City Lit, the University of Nottingham and Middlesex University, working with students in performance workshops and music history classes. She has been teaching Music History courses at City Lit since 2015. She is also Public Events Programmer at the Foundling Museum in central London.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/barber-copland-ives-and-gershwin3034306Barber, Copland, Ives and Gershwinhttps://www.citylit.ac.uk/media/catalog/product/b/a/barber_copland_ives_and_gershwin-md022-1080.jpg299299GBPInStock/Courses/Courses/Performing arts/Courses/Performing arts/Music/Courses/Performing arts/Music/Music history/Courses/Online courses228513141351136317311228513141351<p>Although they’re not exact contemporaries, these four American composers were all composing in the early decades of the twentieth century, in four fascinatingly different, highly distinctive ways. This course is a chance to meet them all, and get a sense of what American music meant to them over their idiosyncratic, and often wildly successful, careers. <strong>Break week: 28 Oct 2026</strong></p>003034300Barber, Copland, Ives and Gershwin299299https://www.citylit.ac.uk/media/catalog/product/b/a/barber_copland_ives_and_gershwin-md022-1080_1.jpgInStockDaytimeWedOnlineAvailable courses5-10 weeksWeekday2026-09-23T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allSep 2026Performing artsMD022299299Barber, Copland, Ives and Gershwin239209299Katy Hamiltonbarber-copland-ives-and-gershwin/md022-2627<p>Although they’re not exact contemporaries, these four American composers were all composing in the early decades of the twentieth century, in four fascinatingly different, highly distinctive ways. This course is a chance to meet them all, and get a sense of what American music meant to them over their idiosyncratic, and often wildly successful, careers. <strong>Break week: 28 Oct 2026</strong></p>0000-Available|2026-09-23 00:00:00<p>This is a four-way exploration of music by four of the most influential American composers of the early twentieth century. Oldest among them is the radical Charles Ives (1874-1954), insurance salesman-cum-organist, whose extraordinary kaleidoscopic compositions bring together hymn tunes, folksongs and the sounds of the American city. George Gershwin (1898-1937) is one of the most famous songwriters of all time who famously dipped into concert music with his <em>Rhapsody in Blue</em>. Aaron Copland (1900-90) defined the US for a new generation of listeners and also worked closely with Mexican contemporaries, whilst Samuel Barber (1910-81) found enduring fame with works as different as the Adagio for Strings and <em>Knoxville: Summer of 1915</em>. We investigate their careers, seminal works, and the influences and models that made them who they were as composers.</p><p>Although they’re not exact contemporaries, these four American composers were all composing in the early decades of the twentieth century, in four fascinatingly different, highly distinctive ways. This course is a chance to meet them all, and get a sense of what American music meant to them over their idiosyncratic, and often wildly successful, careers. <strong>Break week: 28 Oct 2026</strong></p><ul><li>Key biographical information about each composer</li><li>Guided study of selected works by all four figures, including their most famous, and less well-known, pieces</li><li>The importance of European models on their development, and their search for an ‘American’ sound</li><li>The musical legacy they have left and how it’s shaped our ideas of what America ‘sounds’ like</li></ul><ul><li>Summarise the key career points of all four composers</li><li>List some of the details of their musical approaches in key works covered in class</li><li>Appreciate the importance of European influences on American music in the late nineteenth and twentieth centuries</li><li>Discuss what we mean when we talk about music ‘sounding American,’ and how that can vary between composers</li></ul><p>The course is suitable for students at many levels, and no special music-reading skills are needed. However, a basic interest and beginners’ knowledge of classical music is advised for context: (e.g. What is a symphony? Which instruments are in a string quartet? And what do we mean by the Romantic tradition?)</p><p>This course is most suitable for those who regularly listen to classical music, as they will be able to compare/contrast the works on this course with memories of famous pieces of western classical music.</p><p>If you identify as an absolute beginner with little or no previous experience of listening to western classical music, we recommend you first consider our <a href="https://www.citylit.ac.uk/searchcourse/?q=exploring+classical+music" target="_blank" rel="noopener noreferrer">Exploring classical music courses</a> which will introduce you to a basic chronology of western classical music.</p><p>Sessions will comprise combinations of lecture, discussion, quizzes, guided listening, video and score study.<br>Course materials (handouts, scores, links to online videos) will be shared via Google Classroom.<br>You will be encouraged to do extra reading and listening outside class.</p><p>You may also wish to purchase some of the music books or recordings discussed in class, links to these materials will be available online in Google Classroom after each session.</p><p>To find out more about music history classes please visit <a href="https://www.citylit.ac.uk/blog/music-history-your-guide-our-programme" target="_blank" rel="noopener noreferrer">Music history: your guide to our programme</a>, which lists our full programme of classes ordered by term, and by day of the week. You may then click on each title to read the full course outline.</p>MusicMusic historyvirtual239299209MD022NONEWed23/09/26 - 02/12/2610:30 - 12:3010:3012:3010 sessions (over 11 weeks)105-10 weeksDaytimeWeekdayOnlineOnlineKaty HamiltonBeginners, Some experience, Advanced, Suitable for allAvailable courses2026-09-23T00:00:00+00:00Sep 2026Performing arts299299Barber, Copland, Ives and Gershwinbarber-copland-ives-and-gershwin/md022-2627<p>Although they’re not exact contemporaries, these four American composers were all composing in the early decades of the twentieth century, in four fascinatingly different, highly distinctive ways. This course is a chance to meet them all, and get a sense of what American music meant to them over their idiosyncratic, and often wildly successful, careers. <strong>Break week: 28 Oct 2026</strong></p>0000-Available|2026-09-23 00:00:00<p>This is a four-way exploration of music by four of the most influential American composers of the early twentieth century. Oldest among them is the radical Charles Ives (1874-1954), insurance salesman-cum-organist, whose extraordinary kaleidoscopic compositions bring together hymn tunes, folksongs and the sounds of the American city. George Gershwin (1898-1937) is one of the most famous songwriters of all time who famously dipped into concert music with his <em>Rhapsody in Blue</em>. Aaron Copland (1900-90) defined the US for a new generation of listeners and also worked closely with Mexican contemporaries, whilst Samuel Barber (1910-81) found enduring fame with works as different as the Adagio for Strings and <em>Knoxville: Summer of 1915</em>. We investigate their careers, seminal works, and the influences and models that made them who they were as composers.</p><p>Although they’re not exact contemporaries, these four American composers were all composing in the early decades of the twentieth century, in four fascinatingly different, highly distinctive ways. This course is a chance to meet them all, and get a sense of what American music meant to them over their idiosyncratic, and often wildly successful, careers. <strong>Break week: 28 Oct 2026</strong></p><ul><li>Key biographical information about each composer</li><li>Guided study of selected works by all four figures, including their most famous, and less well-known, pieces</li><li>The importance of European models on their development, and their search for an ‘American’ sound</li><li>The musical legacy they have left and how it’s shaped our ideas of what America ‘sounds’ like</li></ul><ul><li>Summarise the key career points of all four composers</li><li>List some of the details of their musical approaches in key works covered in class</li><li>Appreciate the importance of European influences on American music in the late nineteenth and twentieth centuries</li><li>Discuss what we mean when we talk about music ‘sounding American,’ and how that can vary between composers</li></ul><p>The course is suitable for students at many levels, and no special music-reading skills are needed. However, a basic interest and beginners’ knowledge of classical music is advised for context: (e.g. What is a symphony? Which instruments are in a string quartet? And what do we mean by the Romantic tradition?)</p><p>This course is most suitable for those who regularly listen to classical music, as they will be able to compare/contrast the works on this course with memories of famous pieces of western classical music.</p><p>If you identify as an absolute beginner with little or no previous experience of listening to western classical music, we recommend you first consider our <a href="https://www.citylit.ac.uk/searchcourse/?q=exploring+classical+music" target="_blank" rel="noopener noreferrer">Exploring classical music courses</a> which will introduce you to a basic chronology of western classical music.</p><p>Sessions will comprise combinations of lecture, discussion, quizzes, guided listening, video and score study.<br>Course materials (handouts, scores, links to online videos) will be shared via Google Classroom.<br>You will be encouraged to do extra reading and listening outside class.</p><p>You may also wish to purchase some of the music books or recordings discussed in class, links to these materials will be available online in Google Classroom after each session.</p><p>To find out more about music history classes please visit <a href="https://www.citylit.ac.uk/blog/music-history-your-guide-our-programme" target="_blank" rel="noopener noreferrer">Music history: your guide to our programme</a>, which lists our full programme of classes ordered by term, and by day of the week. You may then click on each title to read the full course outline.</p>MusicMusic historyconfigurable
13631351Music historyhttps://www.citylit.ac.uk/courses/performing-arts/music/music-history1/2/285/1314/1351/13631/Courses/Performing arts/Music/Music history
