<p> Aaron Copland is one of the best-known composers from the United States and is often credited with creating a distinctly American style. As a 20th Century composer, he departed from traditional classical compositional techniques and made some contrasting choices of medium when considering ensemble. Copland is recognized for his writings for Orchestra, Film, Theatre, and Ballet, but also wrote chamber works that are both thoughtful and creative. The majority of his chamber works consist of pieces written for piano and voice, however he also used strings, clarinet, and in his later works, flute. </p><p> His last decade of works including one piece for orchestra, three piano pieces, and three chamber works that are flute centric. <i>Duo for Flute and Piano</i> and <i>Threnodies I and II</i> for Flute (Alto Flute) and String Trio were written within the span of three years, and are all written as memorials for others. The commonality a of flute in these pieces and in such close compositional proximity is an oddity when you consider his instrumental tendencies. This paper will examine Copland’s compositional choices for <i>Duo</i> and <i>Threnodies I and II</i> and will consider the connection between writing memorials for others and his own mortality as influencing this late style.</p><p>
| Identifer | oai:union.ndltd.org:PROQUEST/oai:pqdtoai.proquest.com:13426828 |
| Date | 01 May 2019 |
| Creators | Lopez, Matthew Santos |
| Publisher | California State University, Long Beach |
| Source Sets | ProQuest.com |
| Language | English |
| Detected Language | English |
| Type | thesis |
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