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remarked after the premiere: "Aaron, it's amazing how, even when you compose in a completely 'foreign' idiom the music still comes out sounding like you." "The writing," also, "bears the unmistakable imprint of
Copland's mature personality, in its wide spacing, its spare, lucid textures, often in
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The composition begins and ends with eleven-note chords (it may end on a ten note chord), "perhaps a double tease", and, "if there is one over-arching feature to
Inscape, it is the alternation of massive blocks of sound, sometimes quite harsh in their harmony, with quieter sonorities and more
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to suggest 'a quasi-mystical illumination, a sudden perception of that deeper pattern, order, and unity which gives meaning to external forms.' This description, it seems to me, applies more truly to the creation of music than to any of the other
98:" ("perception as opposed to intrinsic, essential quality"), and a commentator writes that Copland, "uses sounds as an 'instress' that communicates a deeper inner essence, an 'inscape.'" "The outward appearance is the boundary
133:(1962), he said, "As a result I began to hear chords I wouldn't have heard otherwise; here was a new way of moving tones about that had a freshening effect on one's technique and approach." However, he stated that
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there is no perceptible contradiction between the serial and diatonic elements, rather they dissolve freely into each other to produce music of a stimulating independence of spirit."
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335:. According to Henderson the first "twelve-note series" opens and closes the piece, while the second is the primary source of melodic material.
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214:(1957), 'Connotations' and 'Inscape' (1967) have made their way more slowly into the repertory than his easily accessible works."
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Copland said that the twelve-tone technique "freshened his harmonic palette" and that the composition uses two different
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that frame the composition. The inner reality is the first complete statement of
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Row 1: Eb G F# D F Bb A B C# G# E Row 2: F C Ab D G A B Eb C# E F#
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From
Outward Appearance to Inner Reality: A Reading of Aaron Copland's Inscape
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Opening eleven-note chord spacing, orchestration not shown
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Aaron
Copland: A Reader : Selected Writings 1923-1972
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just two or three parts, and lithe, cumulative rhythms."
189:". Master of Music (Music Theory), December 2010, 72 pp.
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1967 musical composition for orchestra by Aaron
Copland
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109:at P-0, which occurs very close to the middle of
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200:Copland, Dean of American Music, Dies at 90
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793:Music dedicated to ensembles or performers
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344:Copland, Aaron and Perlis, Vivian (1989).
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145:." "Through the single, closely-knit
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61:for its 125th anniversary (see also
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299:Kostelanetz, Richard; ed. (2004).
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265:Steinberg, Michael (2000). "
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284:Aaron Copland - Inscape
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67:). Composed using the
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737:Twelve-tone technique
655:The Cat and the Mouse
520:Orchestral Variations
303:, p.355. Psychology.
120:peaceable gestures."
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73:Gerard Manley Hopkins
69:twelve-tone technique
59:New York Philharmonic
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422:The Second Hurricane
407:List of compositions
185:Ensign, Jeffrey S. "
722:Aaron Copland House
346:Copland: Since 1943
325:Copland's 'Inscape'
323:Henderson, Robert "
47:musical composition
623:Old American Songs
447:Appalachian Spring
64:Capriccio burlesco
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647:Piano music
615:Vocal music
204:NYTimes.com
141:way than...
772:Categories
591:Quiet City
576:film music
288:Boosey.com
271:LAPhil.com
249:LAPhil.com
164:References
45:is a 1967
732:Serialism
689:Namesakes
553:Concertos
333:JSTOR.org
125:tone rows
75:'s term "
51:orchestra
756:Category
598:The City
584:Our Town
147:movement
96:instress
87:—
500:Inscape
439:Ballets
245:Inscape
151:Inscape
135:Inscape
111:Inscape
104:melodic
89:Copland
77:inscape
42:Inscape
414:Operas
356:
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100:chords
468:Rodeo
329:Tempo
139:tonal
84:arts.
354:ISBN
305:ISBN
107:idea
49:for
31:Play
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