Christina Horton

Christina Horton
Mentor: Dr. Dr. Silvio dos Santos
College of Fine Arts
"Music education is still a huge passion of mine, but Music History 1 seized my attention sophomore year. With each subsequent music history class, I found that my interest in studying the intricacies of musical works and their composers was continually growing. Under the mentoring of Dr. dos Santos, I have discovered that I can combine my two musical interests of research and teaching. I hope to incorporate this into my future and to use it for the benefit of future musicians."


Music Education



Research Interests

  • 20th Century Music
  • Music and Politics
  • Music and Education

Academic Awards

  • Edith P. Pitts Scholarship 2014
  • UF University Scholars Program 2014


  • National Association for Music Education
  • UF Women's Chorale
  • Gatorship


  • Assisted in Kindergarten ESOL at J. J. Finley Elementary
  • Assisted in UF Choral Festival

Hobbies and Interests

  • Reading Fiction
  • Baking
  • Ballroom Dancing

Research Description

Aaron Copland's Piano Fantasy: A Response to the McCarthy Committee

As Copland enjoyed a string of awards in the 1940s and early 1950s and was considered the “dean of American music,” he was suddenly subpoenaed to appear before Senator McCarthy’s subcommittee on un-American activities. During this controversial period, Copland turned to the piano as a means of asserting his identity as a composer, first and foremost. I argue that Copland returned to his modernistic compositional procedures—which he had established in the 1920s—to create music that would not have a political or ideological tendency. This is significant because the pieces that Copland was receiving awards for had exhibited American idealism; this can especially be seen in his most famous pieces such as Appalachian Spring and Rodeo. Therefore, by composing a piece with modernistic ideas such as the use of the twelve-tone technique, he was responding to the pressures of the McCarthy committee.