Sample from this article
"he was, in his maturity, an extremely skilled compositional craftsperson. Having trained in Berlin, he came home to the United States and spent his career composing concert works that are stylistically indistinguishable from his German models (except for the fact that they are not – artistically – as good as his German models; too bad). In this imitation-of-musical-things-German Paine was the poster-child for pretty much every mid-to-late nineteenth century American composer (excepting the young Charles Ives), all of who spent their compositional careers trying (unsuccessfully) to “be like Brahms"
I would have picked Beethoven however someone trying to be like Brahms isn't a bad alternative. Copying the Germans is the best thing any composer can do.
"Paine was the prototypical late-nineteenth/early twentieth century American music pedagogue: a German in everything but birth; fanatically reverent of the “Euro-classics” and equally contemptuous towards anything that smacked of being “American”; a snob with a built-in abhorrence towards any music he perceived as being “popular”, from ragtime to early jazz, American musical theater and even the marches of John Philip Sousa."
I haven't listen to many popular American originated art to decide definitively whether the rejection is a good or a bad thing but the Euro-Classics reverence seems very justified
"You see, Paine churned out scads of likewise prejudiced Harvard students – both music majors and non-majors – who as musicians, politicians, leaders of business, heads of foundations, and orchestra and opera board members continued to endorse and apply those prejudices against American music well into the twentieth century."
What a great influence to music Paine was. One of the last people Holding the flame of German cultural dominance in the spheres of music against the tide of growing global nationalism
I admit I kinda like Paine and I don't even have to listen to any of his music