Populists

I am fascinated by Gann's introductory thesis that innovation and economic prosperity move in direct relationship, leading most composers during the depression to turn to more populist means. Obviously, there were exceptions (Copland Piano Variations of 1930, etc.)
Given the current economic hardship, where are we? Funding for the arts is certainly in decline but I am not sure we could say that musical tastes are significantly more conservative now than in the 90s.

The conservative American music of this era often leaves me uninterested. I think Thompson and Harris were skilled composers whose music is well crafted but just doesn't appeal to me. It is generally tuneful and attractive enough, but something about the artistic motivation does not speak to me. I guess this speaks even more to the genius of Copland to make even this conservative style appealing. I
   One exceptional point of interest is the music of William Schuman. Here he is on What's My Line (September 30, 1962). Schuman was then serving as President of Lincoln Center for the Performing Arts, and, most remarkably, the public knew who he was! I find his music generally more interesting than that of his contemporaries. Also, I think Still's Afro-American Symphony (1930) is impressively fresh, well-crafted, and colorful.
  


Other exceptional points of interest of course include Bernstein (a little later) and those working sort of outside the establishment (Gershwin) in addition to some Europeans.


I was also glad to see at least some reference to black composers although Gann still generally minimizes the influence of popular culture and popular music.