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Copland’s clarinet concerto : a performance perspectiveYeo, Lisa Lorraine Gartrell 05 1900 (has links)
Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman.
The work's incorporation of popular elements, particularly jazz, has led to the perception
that it is a "lightweight" representative of Copland's output. However, the concerto shares
many characteristics with French neoclassical works of the 1920's and SCfs, and
demonstrates a highly skilled construction that belies this label. The neoclassical aspect of
the concerto raises important questions as to whether the jazz elements in the piece are
really central to its expressive essence, or whether they merely reflect a choice of materials
common to Copland and to other neoclassical composers.
This dissertation is directed to the potential performer who wishes to have a better
knowledge of the concerto's performance issues. It discusses the influence of neoclassicism
on Copland's compositional style, gives the historical background to the Clarinet Concerto's
composition, and outlines its general stylistic characteristics. The concerto's structure is
examined in detail, and then applied to the work's performance issues, as the document
investigates the performance practice of the piece through the study of recordings.
The purpose of this dissertation is not to burden performers with a detailed set of
instructions to be followed in performing the concerto. Rather, it aims to equip them with
the techniques necessary to developing an individual, personal interpretation, based on a
thorough understanding of the piece. / Arts, Faculty of / Music, School of / Graduate
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Copland’s clarinet concerto : a performance perspectiveYeo, Lisa Lorraine Gartrell 05 1900 (has links)
Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman.
The work's incorporation of popular elements, particularly jazz, has led to the perception
that it is a "lightweight" representative of Copland's output. However, the concerto shares
many characteristics with French neoclassical works of the 1920's and SCfs, and
demonstrates a highly skilled construction that belies this label. The neoclassical aspect of
the concerto raises important questions as to whether the jazz elements in the piece are
really central to its expressive essence, or whether they merely reflect a choice of materials
common to Copland and to other neoclassical composers.
This dissertation is directed to the potential performer who wishes to have a better
knowledge of the concerto's performance issues. It discusses the influence of neoclassicism
on Copland's compositional style, gives the historical background to the Clarinet Concerto's
composition, and outlines its general stylistic characteristics. The concerto's structure is
examined in detail, and then applied to the work's performance issues, as the document
investigates the performance practice of the piece through the study of recordings.
The purpose of this dissertation is not to burden performers with a detailed set of
instructions to be followed in performing the concerto. Rather, it aims to equip them with
the techniques necessary to developing an individual, personal interpretation, based on a
thorough understanding of the piece. / Arts, Faculty of / Music, School of / Graduate
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The Piano Variations of Aaron Copland: An Analysis and Study for the Performer.Saun, Rinna M. 08 1900 (has links)
Aaron Copland has been in the forefront of the American musical scene since the 1920s. He has been called an "American composer" for his ability to formulate the essence of American folk music into a wide variety of mediums. The variety and scope of his compositions encompass a diverse array of styles and techniques. From the jazz influenced works that dominated his early period to the works for Hollywood films, from
the chamber music that was directly influenced by his Jewish background to the partial
acceptance of serial technique, Copland has managed to delve equally into all these styles. Yet, one could arguably rank his works for the stage as his most popular and generally most successful compositions of his career. The extent to which the American public has accepted these works as being "folk" is a case for the genius and adaptability of Copland's talent.
Although works like Appalachian Spring, Rodeo, and Lincoln Portrait command
the attention of the general public, of whom Aaron Copland was constantly aware, there
are works for the piano that deserve and demand close study by pianists. One such work is the Piano Variations. Written in 1930, it has been acknowledged as a twentieth century masterpiece in publications for piano and piano literature as well as by pianists since its premiere in 1931. It is a brutal and sparse work that encompasses a quasi-serial technique in which the motto of four notes transforms itself through the course of twenty variations and a coda.
The demands of learning a work such as this can be overwhelming for the pianist not accustomed to the rigors of a non-diatonic piece. However, a careful analysis precipitated by specific questions directed not only at learning the piece but also with the goal of performance in mind, can shape the interpretational issues that will eventually face the pianist. The questions that I pose are directly pulled from Michael Remson's article, "Copland's Piano Variations: A Forgotten Masterpiece." Although it is considered by this writer as an introduction to the technique of serialism, largely because of the classical practices among which are tonal center, period structure and interruptions of the motto, Copland's Piano Variations is a classic example of a twentieth century work that will be heard as avant-garde and studied in the style of late Romanticism.
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From Outward Appearance to Inner Reality: A Reading of Aaron Copland's InscapeEnsign, Jeffrey S. 12 1900 (has links)
About 8.3% of individuals diagnosed with diabetes mellitus (DM) are diagnosed with comorbid depression, a higher rate than the general adult population. This project examined the differences of depression symptoms experienced between diabetic and matched non-diabetic individuals and the relationship of daily activity and nutrition behaviors with depression between these groups. The 2005-2006 National Health and Nutrition Examination Survey (NHANES) was utilized to assess: depression symptoms, diabetic glycemic control as measured by glycoginated hemoglobin (HbA1c), amount of physical activity, percentage of macronutrients, daily frequencies of foods consumed, and the use of nutritional food labels to make food choices. A sample of diabetic (n = 451) and non-diabetic individuals (n = 451) were matched to on age, gender, ethnicity, and education. The diabetic individuals experienced greater depression on both continuous and ordinal diagnostic variables. Counter to expectation, there was no relationship observed between depression and HbA1c in diabetic individuals, r = .04, p > .05.
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Tonality and Harmonic Motion in Copland's Appalachian SpringRober, Russell Todd 12 1900 (has links)
In Appalachian Spring, Aaron Copland creates a unique tonal environment. Although often considered a tonal work, it contains many non-functional progressions and techniques that belie common-practice norms. The entire first movement, and sections of other movements contain no harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion is increased by shifts to third-related keys, and non-functional progressions. Also, the variations on the melody "Simple Gifts" never employ common-practice techniques. Through the free use of materials, Copland creates an individualistic example of tonality in twentieth-century music.
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The trumpet; its use in selected works of Stravinsky, Hindemith, Shostakovich, and CoplandColeman, Jack, January 1965 (has links)
Thesis (D.M.A.)--University of Southern California. / Includes bibliographical references.
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The trumpet as a voice of Americana in the Americanist music of Gershwin, Copland, and BernsteinBekeny, Amanda Kriska, January 2005 (has links)
Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Includes bibliographical references (p. 146-152).
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Copland's "Single Vision" and the Piano Sonata: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Bartok, L.v. Beethoven, F. Chopin, F. Liszt, W.A. Mozart, J.P. Rameau, M. Ravel, and F. SchubertMorris, Gregory W. (Gregory Wayne) 08 1900 (has links)
Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed.
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A Stylistic and Pianistic Evaluation of Aaron Copland's Piano FantasyHutchison, Merilyn Kae 08 1900 (has links)
The Piano Fantasy will be compared to Aaron Copland's other major piano works, the Piano Variations and Piano Sonata, to determine if he has retained his basic stylistic features, although he has employed serial principles more extensively in the piano fantasy than in the other two works and has passed through two different style periods, the "Abstract" (1929-1935) and the American "Folksong" (1934-1955).
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Aaron Copland's Symphonic Use of Brass InstrumentsHasty, Patrick R. (Patrick Robert) 08 1900 (has links)
Traditions in orchestration can be described by relating the practices of most of the important composers of a particular time. This was done with great success by two composers of the nineteenth century, Hector Berlioz and Nicolai Rimsky-Korsakov, in their books on orchestration. These texts are the basis for the traditional uses of brass instruments appearing in the chapter.
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