Many of them studied with
Nadia Boulanger.[2]Irving Fine described the music of Stravinsky and his followers as "diatonic and tonal or quasi-modal",
pandiatonic, and concerned with chord spacing and
rhythm.[2]
^
abcdefghijRamey, Phillip (2005). Irving Fine: An American Composer in His Time, p.49-50.
ISBN9781576471166.
^
abcdeMarta Robertson, Robin Armstrong, Robin Armstrong (2001). Aaron Copland: A Guide to Research, p.50.
ISBN9780815321781.
^
abcdefBerger, Arthur (2002). Reflections of an American Composer, p.246.
ISBN9780520232518. Cites
Copland, Aaron (1949). "Influence, Problem, Tone", Stravinsky: In the Theatre, p.122.
^Moore, Laura McDonald (2008). "Holy Sonnets: La Corona" of Louise Talma: Selected Elements of Texture, Technique, and Text, p.13.
ISBN9780549691990. Cites Berger, Arthur (June 1955). "Stravinsky and the Younger Composers", Score no 12, p.41.