Unlike Stravinsky’s ballet, Copland’s feels less internally driven. Using silence and frequent changes of harmonic material, it continually suspends its own sense of direction. Generally, Copland eschews both transition and that which to which it would transition to. In this way, it sometimes seems that storytelling itself propels development. This lends the music its apparently spatial and explorative character. The ballet, meanwhile, is not enough to quench our imagination of the story, which is motivated by the need to provide what the music seems to lack developmentally. This gives the music an intense evocative power. The tightly-knit themes of the music are very compelling in themselves, drawing in the listener in such a way that she forgets where she is in the music, and tending in this way to assuage concerns about absence of direction in the music.
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This is a fascinating take on Copland’s approach to musical space and narrative. The idea that his music avoids traditional transitions in favor of a kind of suspended storytelling really captures the open, almost cinematic feel of his compositions. It’s as if the music invites the listener to explore a landscape rather than follow a path—which ties beautifully into the idea of spatial music. If you’re interested in how these kinds of structural and thematic techniques are explored in other forms of art and storytelling, this resource has some really interesting cross-disciplinary insights worth checking out.
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