Editing Ned Rorem (section)

===1940–1948: Emerging composer===
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'''Ned Rorem's institutional education timeline'''{{sfn|Griffiths|2011}}
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: [[American Conservatory of Music|American Conservatory]] ([[Leo Sowerby|Sowerby]]): 1938–40
: [[Northwestern University]] (Nolte): 1940–42
: [[Curtis Institute]] ([[Gian Carlo Menotti|Menotti]] & [[Rosario Scalero|Scalero]]): 1942
: [[Juilliard]] ([[Bernard Wagenaar|Wagenaar]]): 1943–46 ([[Bachelor of Arts|BA]]); 1946–48 ([[Master of Music|MM]])
: [[Tanglewood Music Center|Tanglewood]] ([[Aaron Copland|Copland]]): Summers of 1946 & 1947
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Rorem attended the [[Bienen School of Music|School of Music]] of [[Northwestern University]] in 1940, studying composition with Alfred Nolte and piano with Harold Van Horne.{{sfn|McDonald|1989|p=4}} Under the latter he focused on standard repertoire by [[Bach]], [[Beethoven]] and [[Chopin]], but transferred to the [[Curtis Institute of Music]] in 1942.{{sfn|McDonald|1989|p=4}}{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 2}} There, he studied composition and [[orchestration]] under [[Gian Carlo Menotti]] and [[counterpoint]] under [[Rosario Scalero]].{{sfn|Ewen|1982|pp=540–541}} He had numerous compositions premiered, including ''The 70th Psalm'' (1943), a choral piece with orchestral accompaniment, and a Piano Sonata for Four Hands.{{sfn|McDonald|1989|p=5}} Considering Scalero unprogressive, he left Curtis after a year; his parents disagreed with the decision and ceased providing him a regular allowance.{{sfn|McDonald|1989|p=5}} Moving to New York in late 1943, to support himself he took a job as copyist for the composer [[Virgil Thomson]], with whom he also studied orchestration and [[Prosody (music)|prosody]].{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 2}} Via a mutual friend, he became acquainted with the conductor and composer [[Leonard Bernstein]], and Bernstein introduced him to [[Aaron Copland]].{{sfn|Lewis|2022}} Rorem later attended two of the [[Tanglewood Music Center]]'s summer sessions to study with Copland.{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 3}} Rorem later remarked in an article of ''[[The New York Times]]'': "Well, I took the job with [[Virgil Thomson|Virgil]], became an instant fan of [[Aaron Copland|Aaron]] and [[Leonard Bernstein|Lenny]], and for the next 42 years with many an up and a down I've remained staunch friends with all three men. Some weekend!"<ref group="R">{{harvnb|Rorem|1985}}</ref>

Later in 1943 he enrolled in the [[Juilliard School]] and studied composition with [[Bernard Wagenaar]].{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 3}} Rorem graduated from Juilliard with a Bachelor of Arts in 1946 and a [[Master of Music]] in 1948.{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 3}}{{sfn|Griffiths|2011}} While a student he worked as a piano accompanist for performers such as the dancer [[Martha Graham]] and the singer [[Éva Gauthier]].{{sfn|McDonald|1989|p=5}} Due to his interest in literature he became increasingly interested in composing [[art songs]], and also wrote [[incidental music]], ballet music and music for a [[puppet show]].{{sfn|McDonald|1989|p=5}} In 1948, his song ''The Lordly Hudson'' on [[The Lordly Hudson|a poem by Goodman]] won the [[Music Library Association]]'s published song of the year award.{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 3}} That same year, his orchestral ''Overture in C'' won a [[Gershwin Prize]] and was premiered by [[New York Philharmonic]] under {{ill|Mishel Piastro|de}} in May 1948.{{sfn|Holmes|Tommasini|McDonald|2003|loc=§ para 3}} The positive reception of both these compositions was an important milestone in his career as an emerging composer.{{sfn|McDonald|1989|pp=5–6}}