Copland clearly works within the tradition of Stravinsky in “Appalachian Spring.” He expands upon Stravinsky’s complex rhythms to create a more naturalistic sound-scape that gives rise to Martha Graham’s revolutionary style of choreography that is rhythmic, narrative, and relies on the dancer’s form. I found this piece to give rise to outstanding choreography and liked it even better than the Stravinsky because if its unique rhythms and its ability to change styles instantly.

The piece begins with a lyrical, slow melody in the woodwinds accompanied by a constant swell in the strings. It sets the stage for a “dream-world,” which Graham’s ballet becomes. The ballet is similar to theatre, and reminds me of Wagner’s style of “total art” — this time including dance as well as music and drama to tell a compelling narrative. A dramatic melody emerges suddenly out of the lyrical swell at 2:25, with complex and sporadic rhythms in the percussion and woodwinds that are accentuated by the dancer’s own percussive hand claps.

In Part Two, a male dancer leads a group of female dancers in a much more traditionally melodic dance, in a bouncing 4/4. This melody clearly has a place within the theatrical piece, seeking to invoke a style of dance of the community that is shown. This device is used again in Part Three, when Copland plays upon a familiar folk melody by altering the rhythm and tonality, playing the same theme in different keys and in different, choppy syncopations. This again lends itself to the dancer’s precise yet emotionally expressive movements.

Finally, in Part Four, the music returns to the lyrical theme of the beginning, with “the wife” using the music to do a meditative dance. The return of the music seems to help the audience exit the “dream world” just as they had entered in, and the characters leave the stage just as they had entered in the beginning. Overall, I found “Appalachian Spring” to be a very interesting and lyrical piece of music that inspired expressive choreography and storytelling.