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.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc331476 |
| Date | 08 1900 |
| Creators | Morris, Gregory W. (Gregory Wayne) |
| Contributors | Roberts, Jack Lundy, 1931-, Brothers, Lester Dwayne, 1945-, Cho, Gene J., Glick, Edwin L. |
| Publisher | University of North Texas |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | xi, 39 leaves: music, Text |
| Rights | Public, Morris, Gregory W. (Gregory Wayne), Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved. |
| Relation | Recital: June 6, 1988, ark:/67531/metadc983909, Recital: March 23, 1987, ark:/67531/metadc917342 |
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