During the Great Depression, the socialist movement experienced a strong surge in the United States. This was especially true among artists, as these bitter years caused people to become aware of individual expressionism and self-examination (Dobrin 116). In this regard, much of the art of this period was created in response to the need to confront and understand the difficulties facing the nation. Ballet pieces such as Billy the Kid (1938), commemorating a Robin Hood-like outlaw, showed Copland exploring a prelapsarian state before the loss of innocence under capitalism (Ross 276). Although Copland was never formally associated with these socialist views nor an actual member of a communist movement (Ross 275), many of his philosophies at this time. It is quite ironic that it was these communist ideologies that pushed Copland to make an American sound. However, on an ideological level, communism, which has nationalist tendencies, does stimulate culturally representative music. Copland, who was already leaning to the left since his European travels in 1927 and 1929, was interested in the idea of ​​finding music to represent and distinguish the working classes of America (Ros 272). This was the extent of Copland's desire for radicalism. His essay in a communist-funded periodical, Music Vanguard (1935), expressed his interest in finding a style of communication clear to the people rather than political intentions (Ross 275). The Communist Party also provided a means of financial support for artists during the Great Depression (Ross 272). However, it was unquestionable that Copland had strong ties and influences to the socialist movement and the Popular Front, which he even called "an active and vocal 'red'" (Crist 422). Copland was particularly interested...... middle of article...... American Musicological Society 56.2 (2003): 409-65. JSTOR. Internet. May 11, 2014. .Dobrin, Arnold. Aaron Copland, his life and times. New York: Thomas Y. Crowell, 1967. Print. Hitchcock, H. Wiley. “Aaron Copland and American Music.” Perspectives on New Music 19.1/2 (1980): 31-33. JSTOR. Internet. May 11, 2014. .Pollack, Howard. “Copland in Paris.” Tempo n°212. French Music Number (2000): 2-7. JSTOR. Internet. May 11, 2014. .Rockwell, John. “Copland, dean of American music, dies at 90.” New York Times December 3, 1990: n. page. Print.Ross, Alex. The rest is just noise. Sl: Clipper, 2009. Print.