From Outward Appearance to Inner Reality: A Reading of Aaron Copland's Inscape Page: 57
vii, 72 p. : ill.View a full description of this thesis.
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The large middle section, mm. 121-160, is also framed by a pair of announcement
gestures (See Examples 3.28 and 3.36). The first part of the announcement gesture consists of
accented doubly-dotted quarter and sixteenth notes played both times by the trumpets and snare
drum. The first time, in m. 117, this gesture is accompanied in the woodwinds, the second time,
in m. 160, in the trombones. This fanfare gesture is followed by an eighth-note gesture outlining
a major triad with a strong dominant-tonic arrival on the downbeat of the new section. Both
times it is played by the timpani and tuba. The first time, in m. 120, it also sounds in the cello
outlining a B major triad and the second time, in m. 162, it is also played by the horns and
outlines a BE major triad. These gestures both announce the next important musical idea and
close a previous section. Therefore, they can be seen as forming a frame around the middle part
of Inscape.
Copland also frames phrases and subphrases with either the same notes as the beginning
of the phrase or with a major third and a common tone.77 The former is evident in mm. 27-28,
which begin and end with D#/B. As shown in Example 3.8, the latter occurs in the dyads of mm.
11-12, which begin Gb/B5 and end D/F#. It also occurs in mm. 17 and 21 and 20 and 22 where the
subphrases begin and end on a common tone with a major third above or below, as shown in
Example 3.9.
Each of these frames has a different characteristic: the frame for the entire work can
include both the opening and closing chords and the first and last twelve measures; the frame for
the B section consists of two presentations of the row form P-5; and the frame for the middle
section comprises the announcement gestures. The frame for the phrases and subphrases can be
either the same dyad or the same interval, a major third, with a common tone. In each case,
however, the frame establishes the outer limits of the entire work, a section, or a phrase within
77 Conte observes the former but not the latter framing technique.57
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Ensign, Jeffrey S. From Outward Appearance to Inner Reality: A Reading of Aaron Copland's Inscape, thesis, December 2010; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc33147/m1/65/: accessed May 4, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .