The Affect Weather Has on Human Life

The Affect Weather Has on Human Life Introduction Destructions caused by storms, floods, droughts, earthquakes, and further source of danger often expose human to insecurity, exacting a serious economic cost and weakening livelihoods. These effects can be short-term, but in many instances disaster also damages the lasting habitability or economic normal growth and development of the affected region.Advertising We will write a custom report sample on The Affect Weather Has on Human Life specifically for you for only $16.05 $11/page Learn More While the severity of destruction is an important issue, the timeless and capability of assistance and reconstruction programs, and the flexibility of affected territories and societies, will eventually shape the expectations of the region. Regions or countries that have experienced natural disasters, often known as fragile states in the global literature, are states that have experienced disasters such as floods, earthquakes, hurricanes, or droughts to the level that their safety, economic, health, and welfare structures are damaged or ruined. A current severe and sad example of the hit of natural disaster is the Hurricane Katrina which happened in United States on 29, August 2005 (Barb 2007). At a first glance, the attack on the Gulf Coasts of U.S. seems to be an example of a bulldozer contest at work. In building this research, the method used of ­fers a comprehensible or deep observation of the situations. The investigation, which takes the subsequent section and to which the study precedes to the conclusion of the research, assesses the impact of the attack on economy and health of the inhabitants of the city New Orleans. This proportional and static method employs measures established on the environmental effects of the hit. It points out the environmental effects of the attack on New Orleans economy and the health of the inhabitants. Natural Disaster On August 29, 2005, Hurricane Katrina, one of the most fatal hurricanes hit the southern part of U.S. This incidence caused landfall on the seashore of the Gulf of Mexico and within hours it became the major natural tragedy in U.S history (Jeremy, Matthew 1).Advertising Looking for report on environmental studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More The level of the destruction was unparalleled and had a bad effect on lives, huge demolition of property, and movement of hundred of thousands of people. Survivors of these natural tragedies were exposed to several obstacles to revival, as well as health and mental health problems. When Hurricane Katrina hit, the strength of the wind and storm surge aroused the levees and flooded the affected city’s resulting to loss of life, shocking damage, and massive dislodgment of people (Warner Scott, 2005). Eighty percent of New Orleans was flooded and unlivable causing the movement of the greater part of the city inhabitants. Hurricane Katrina caused the prime single movement of inhabitants from a natural disaster in US history. Effects of Hurricane Katrina on New Orleans Economy The economic results of Hurricane Katrina, which strike the Gulf coast of America, are extensive. According to research carried out on the impact of the storm on the city, it was observed that Hurricane Katrina destroyed properties thereby exposing the city to environmental pollution which is harmful to the health of the inhabitants. Furthermore, the wreckage caused by the storm has devastated the economy. Before Hurricane Katrina, New Orleans created about 600,000 non-farm occupations. With reverence to its inbuilt nature, the total economic growth to New Orleans has surpassed $150 billion (Barb, 2007). Hurricane Katrina is an unpleasant shock to New Orleans and the economy of the nation, as a result shifting the economic development of New Orleans both in job opportunities and health wise. Hurricane Katrina in effect, damaged lives (labor) and capita l (production facilities, oil platforms), and consequently it negatively affected New Orleans ability to manufacture goods and services (Falk Baldwin 2006). The storm caused terrible damage in New Orleans (Gulf Coast of America). The levees that divided Lake Pontchartain from the city of New Orleans were destroyed causing the flooding of about 80 percent of the city, thereby damaging industries and houses within the city.Advertising We will write a custom report sample on The Affect Weather Has on Human Life specifically for you for only $16.05 $11/page Learn More New Orleans’ economic infrastructure has several flaws, many of which preceded Hurricane Katrina but have been worsened by the damage done by the hurricane and its consequences. Perhaps, the single most important physical infrastructure problem is the changeable position of the levees and the flood-control system protecting the city from upcoming hurricanes. Despite the refurbishments that have been made, the doubt surrounding the city’s safety from future Hurricanes put off much-needed investment, both in the city’s opened business residents and by prospective new businesses and residents. Besides, the city’s physical infrastructures needs major improvement and renovations, not just to essential facilities as streets, transportation networks, and utilities, but particularly to the port and the city’s biomedical facilities. Other main setbacks for the city’s economic infrastructure include the quantity and quality of its labor force and the city’s association with business sectors. Effect on health Hurricane Katrina, the difficult concern of mental illness doubled compared with that in a similar New Orleans population before the hurricane. As occupants reoccupied the town, health authorities became more disturbed about the possibility for respiratory health consequences from danger to water destroyed homes and environment. Wh en experiencing a major storm, health workers are expected to work with other primary responders on awareness functions like preparing removals, carrying out examination for death rate and for infection, and communicating about dangers of post-hurricane, such as the danger of carbon monoxide physiological state created by toxic substances from unsuitable use of generators when power connections are disconnected (Falk Baldwin 2006). Hurricane Katrina caused vast challenges to public health and necessitates wide-ranging reactions.Advertising Looking for report on environmental studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More Important concerns included the extensive damage it caused in New Orleans and across several states, as well as the interruption of clinical services; the disconnection of electric, gas, transportation system, and other services; destructive flooding that contributed to the mass departure of New Orleans; the need to supply protection, life, and medications for a long period to one million people who have been evacuated; and the problems in repopulating New Orleans, restoring its health care sector, and going back to fundamental public health roles (Falk Baldwin 2006). The effects of Hurricane Katrina on the health sector of New Orleans consist of the evaluation of huge amount of wreckage and decisions about harmless removal of solid and harmful wastes, evaluations about release of and exposure to harmful substances from manufacturing companies and waste places. Hurricane Katrina left the city of New Orleans in a difficult situation as a result of toxic air pollution which gives inc rease to health hazard of the residents. In line with research on Hurricane Katrina, human exposure to toxic air noxious wastes may cause cancer or other serious health consequences, such as procreative effects or birth deficiencies, or undesirable environmental and natural effects (Falk Baldwin 2006). Example of toxic air toxins include benzene, which is detected in gasoline; perchlorethlyene, which is discharged from some dry cleaning facilities; and methylene chloride, which is used as a solvent and paint stripper by a number of factories in New Orleans and other cities worldwide. Examples of other air toxic which have or will have an negative effect on the residents of New Orleans is carcinogenic hydrocarbons, asbestos, methylbenzene, and metals such as hydrargyrum, mercury, Cr, and lead compounds. In conclusion Hurricane Katrina have negatively affected the lives of many inhabitants of New Orleans (Or Gulf Coast) and caused billions of dollars in property destruction. However, environmental emergencies connecting the discharge, or vulnerable release, of oil, radioactive equipment, or harmful chemicals potentially may have an effect on communities and the neighboring environment. However, discharge caused by Hurricane Katrina is grievous to both the economy and to human health and with the harm done by storm on the economic infrastructures in New Orleans, it was observed that the residents are open to poisonous air toxins at an adequate concentrations and periods and this may result in high chance of developing cancer or experiencing other severe health effects. These health effects may possibly include harm to the immune system, and neurological, procreative (e.g., reduced fertility), developmental, respiratory, and other health harms. Similar to humans, if animals are open to waste from toxics, they may in time contact health problems (EPA, 2003). For example, increases in close air ozone and air pollution can be connected to high rates of asthma exacer bations because the contact has been found to stimulate an increase in airway inflammation. Barb, Palser. Hurricane Katrina: Aftermath of Disaster. Minneapolis, MA: Capstone, 2007. Print. Environmental Protection Agency (EPA). About EPA. 2003. Web. https://www.epa.gov/aboutepa Falk, Helen, and Baldwin George. Environmental health and Hurricane Katrina. Environ Health Perspect (2006): 114: A12-A13. Web. Jeremy, Levitt I, and Matthew Whitaker C. Hurricane Katrina: Americas Unnatural Disaster. Nebraska: U of Nebraska Press, 2009. Print. Warner, Charles, Scott Thomas R. Where they died. The Times-Picayune. 2005. Web. https://www.nola.com/

A considerate of contemporary management function Essay Example for Free

A considerate of contemporary management function Essay ? A considerate of contemporary management function of the employer-employee relationship The six journal articles that have been looked at stem from the original Locke, (1982) article. Frederick W. Taylor popularised of scientific management. The essay will discuss 5 aspects of Taylor’s ideas about scientific management and show how understandings of contemporary management functions and the employer-employee relationship have been developed from Taylor’s ideas. What was Taylor’s idea about the management? Management involves coordinating and overseeing the work activities of others so that their activities are completed efficiently and effectively. The ideas about the relationship between employer and employee have been developed from a nother. Retain critical employees is important and necessary. According to the Fitz-enz(1997), the company average losses 1 million with every 10 people who is the managerial and professional employees. In addition, the total cost of least a former employee at least a year of wages and benefits, up to two years of unpaid salary and benefits. This is a huge economic loss with a company loses a number of critical employees. As a manager, we must give employees adequate physiological, safety, love, esteem. One of the advice is managers should look into a way to motivate employees to achieve a satisfactory and unmet needs through activities and exercises. Managers have a responsibility to create a suitable environment to inspire employees to their fullest potential. If no such right environment, will lead to a big difference such as lower job satisfaction, lower productivity, lower profit with a company. How to effectively improve the relationship between managers and employees? Taylor given 4 methods. (a) Scientific management: In Principles of Scientific Management (1911)Fredrick Winslow Taylor, the â€Å"Father† of scientific management utilises scientific methods to define th e â€Å"one best way† for a job to be done (b) Scientific selections. Taylor advocated selecting only â€Å"first class†(i.e., high aptitude) men for a given job because their productivity would be several times greater than that of the average man. (c) Money bonus. Taylor claimed that the money is what employees want most, he thinks employees should be paid from 30% to 100% higher wages for to do his job. (d) Management responsibility for training. Taylor thought that most contemporary managers should fully accept the notion that training new employees is their responsibility. My understanding about the  employer-employee relationship has also been shaped by these articles. I have learnt that (1) Scientific management can focus speed of production, low cost production and availability of an unskilled workforce. In addition, today’s use of scientific management can use time and motion studies to increase productivity, hire the best qualified employees and design incentive systems based on output. Equity theory is a theory of social comp arison effect on employees. This theory appears to be very common, but it is very important. Equity theory refers to the rate of employees with their work output and input compared with others. Time input includes the time of the work, work habits, work experience, work attitude, and so on. When they found unfair, they usually can’t change the rate of others, can’t change their input, so employees will find ways to change their output. This may mean that they will reduce their work time or effort to work. Then, the manager can use the equity theory to motivate employees. Managers can use a more open system of remuneration paid for employees to understand each position and every effort should position relative to how much salary can be get. (2) Scientific selections: Everybody have their own good aspects, based on each person strengths and rational allocation of work. As a result, not only can bring effectively produce but also can make person enjoy their work. According to the Wren (1979) notes that Taylor focuses on scientific selection can promote the develop ment of industrial psychology and personnel management and other areas. (3) Money bonus: How to influence people? The most common method is money bonus. Such as up wages, bonuses, benefits. These things are the most effective way to influence the work of passion and power of a work. Through the Vroom’s (1946) expectancy theory, we can find that an employee will play his better efforts when he is convinced that his efforts would be better evaluated. And these evaluations will bring him more rewards such as bonuses, salary increases. These rewards will meet staff personal goals. Individual employee attitudes and enthusiasm in their work will determine to a large extent a company’s performance. According to the Porter (1968) and Lawler’s expectancy model of motivation, this model proposes two factors that determine spending on a number of tasks energy. The first is the personal rewards from work to get. These returns will be the psychological perception of employees is their own work to be sure. The second is that these returns will be formed job satisfaction. (4) Management  responsibility for training: The staff training is an essential element of human resource management. Managers can’t ignore their training responsibilities. Understanding management system in staff training in this area can help you build an effective training system to help you prepare new employees for their work To sum up, from the six articles considered, scientific management can not only getting the most output from the least amount of inputs but also focus on those work activities that will help the company reach its goals. Taylor’s idea has shaped modern employer-employee relationships. Work is still specialised, personal are still trained. The quality of work is still rewarded in bonuses, as well as other. Reference: 1.Three chapters in The Ideas of Frederick W Taylor: An Evaluation’. 2.Wren, D. A. The evolution of management thought (2nd ed.). New York: Wiley, 1979. 3.Towards a unified model of employee motivation / Darren J. Elding, Andrew M. Tobias and David S. Walk [Chichester, West Sussex, England] : John Wiley & Sons, Ltd., 2006 4.Kotter, John P. What effective general managers really do / John P. Kotter Boston [etc.] : Graduate School of Business Administration, Harvard University, 1982 5.Managing in the new millennium : understanding the manager’s motivational tool bag / Patricia M. Buhl Burlington, Iowa, etc., National Research Bureau, etc.], 2003 6.A review of employee motivation theories and their implications for employee retention within organiz Hollywood, FL : Journal of American Academy of Business, 2004 A considerate of contemporary management function. (2016, Mar 24).

Externalities Research Paper Example | Topics and Well Written Essays - 750 words

Externalities - Research Paper Example They can also be referred to as the spill-over effects in the economy. Negative externalities results social costs to the society exceeding the private costs while positive externalities results in social benefits exceeding the private benefits. A case of negative externality can be illustrated by the graph shown below. Externalities and their solutions Air pollution is one of the major forms of negative externality. It arises from the burning of fossil fuels. Smoke from motor vehicles results to negative effects on the health of the road users leading to cancerous infections. The owners of the motor vehicles do not bear the cost of medical treatment to those affected. Smoke from cigarettes imposes a cost on the non-smokers who have to bear the cost of treating diseases due to smoke. This form of externality can be mitigated through the imposition of taxes commonly known as Pigovian tax which is usually set at a figure close to the cost of that externality. However this has a challen ge in determining the actual amount of tax to be imposed (Papandreou, 1998). The tax is also applied in anon progressive manner which makes it less equitable. Some firms are forced to pay more than what they are supposed to pay in actual terms. Finally it may not be social optimal by the fact that some firms may layoff their employees so as to meet the cost of taxation. Due to these weaknesses of taxation, it is not emphasized by the government but instead a lot of emphasis is made on regulation. The government regulates the amount of production and consumption leading to externalities. This can be in form of quantity regulation in which the government can force the firms to produce the socially efficient quantity instead of taxing it forcing the firm to internalize the cost of the externality. Carbon emissions are another form of negative externality. Carbon emission from firms pollutes the surrounding environment resulting to an increase in social costs accruing to the third parti es and it also forms part of greenhouses gases that promote global warming. Negative changes in the environment due to climatic condition variations can be attributed to carbon dioxide emissions. Coase Theorem provides a means by which this externality can be controlled; it lays emphasis on the need to have externalities internalized by the firms that produce them if the form of tradable emission permits. The theorem however has some limitations such as the free rider problem in which some agents can enjoy the benefits of a free environment without contributing towards it. It tends to work best in situations where externalities are not global but are in existence in a smaller context. Use of carbon trading provides a means of is to create a means putting a price on carbon emission. Thus it assists in internalizing environmental costs of firm and results in lower emissions. The government may also levy fees on each unit of pollutants that is being emitted into the surrounding environ ment. Setting emission standards provides a means of limiting the amount of pollutants emerging from a firm. Another form of negative externality is water pollution which results in the death of aquatic life as well as having some negative effects on the environment. Industrial effluents emitted by firms into major water bodies causes disease outbreaks. Acidic rain which is caused by water pollution brings about deforestation thus causing serious environmental degradation. Household water

Plato in Apology and Aeschylus in Eumenides Essay - 1

Plato in Apology and Aeschylus in Eumenides - Essay Example Charged with being an associate of the Thirty and with subverting the thinking of Athenians, Socrates was brought to trial in 399 BCE. Plato’s Apology is his account of the proceedings against Socrates and, in particular, Socrates’ oratory at trial in his own defense.1 Thus, the Apology must be understood in the context of dramatic social changes taking place in Athens, particularly, the restoration of the Athenian tradition of democratic rule, and a pogrom to drive from Athens any vestige of the radical thinking associated with the Thirty. So, when we speak of reactionary sentiment in Athens at the time of Socrates’ trial, we are speaking of the force of the newly-restored democracy to return the city-state to the tradition of democratic principles.2 Plato’s Apology and Aeschylus’ Eumenides both present the transition from an old order to a new one and, in different ways, embody the human condition of duality. Whereas in the Apology Socrates pleads his case by asking questions that probe the deeper recesses of the mind, Aeschylus presents us with characters who engage in spirited debate and accusation. Thus, we are presented with two very different definitions of and perspectives on the subject of justice. Yet the entire spectrum of motivation toward and contemplation of justice is addressed in both. Let us first look at Aeschylus’ work. In Eumenides, the third in Aeschylus’ Oreseias trilogy, Apollo leads Orestes to kill his mother, Clytemnestra, who had previously killed her husband and Orestes’ father, Agamemnon.

Hate Groups Essay -- essays research papers

Hate Groups   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  In today’s society where differences between people are magnified and everyone is discussing diversity, tensions between different groups are remarkably high. The extreme of this tension is brought out in hate groups. Hate groups play off of the stereotypes of specific peoples. They use these generalities in their relentless and often violent persecution of those different from themselves.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  There are many groups that practice in such ways, most of them preaching white supremacy. The main goal of these groups is the advancement of the white race by the segregation of other cultures from society. The Ku Klux Klan (KKK) is probably the best known of these groups. They have been around since the Reconstruction era following the Civil War. The KKK was set up to build an all white society based on Christian beliefs. They claim that they are not the enemy of non-white, non-Christian people. They believe that all races would benefit from separation from each other because everyone would work better if they are surrounded by their own kind. The KKK states â€Å"Our purpose is to unite, organize, and educate the white Aryan masses world wide to the dangers that face our race, culture, and Christian civilization† (www.kkkk.net). They also claim that they don’t tolerate people of immoral character in their society such as drug users and dealers, thieves, or c...

Rhetoric Analysis

English 103 Rhetorical Analysis Authors Becky Herz, and Kim Phuc wrote essays that not only touched hearts, but also made people take a different look at life and those around them. â€Å"The Long Road to Forgiveness† and â€Å"My Husband Will Call Me Tomorrow† are two essays that use literary devices such as pathos, imagery, ethos, and repetition to effectively tell their stories. By using different rhetorical and literary devices in their writing they were able to make an impact with their words. Words are very powerful weapons in the battle of making a point and trying to make sure that people actually understand that same point.In Herz’s â€Å"My Husband Will Call Tomorrow† she was able to use repetition as well as visual devices to effectively tell her story. Her use of these devices allows the reader to be able to connect and see things from her level. Phuc’s essay on the other hand, was able to evoke gut-wrenching emotion, just using devices such as imagery and details about to make her story credible. Becky Herz’s essay, â€Å"My Husband Will Call Me Tomorrow† contains credibility in her use of certain details about how her life is laid out now that her husband is not at home.Her use of repetition through the essay, stating that, â€Å"I believe my husband is going to call me tomorrow† is very effective. The author states this through the essay multiple times. This can be interpreted in a way where one can come to believe that she is just stating a fact. Over and over she states that her husband is going to call her; this shows that she has hope, faith, and is determined that her husband will indeed call her tomorrow. Herz gives detail about how she puts the baby to bed, walks the dogs, checks on her employees; this expresses how she does indeed â€Å"have her hands full† and establishes her credibility.By going through her everyday life, this reveals that hope and belief that nothing is out of the ordinary. Through detailing the actions and evoking the emotion behind it, she makes her story more credible and emotional. The reader can actually believe that she does have hope and believe her husband will call her. If she really did not believe that her husband would call, would she keep her usual routine? Or would she just wallow in the idea that she will never see him again? Her use of repetition helped make her essay touching and believable. In Kim Phuc’s essay, â€Å"The Long Road to Forgiveness† she does not tell a story.She states the facts about everything that happened to her when she was younger giving the story an emotional effect. She described in intricate detail about how she saw everything around her in flames. â€Å"I saw fire everywhere around me. Then I saw fire over my body, especially on my left arm. My clothes had been burned off my body† (Phuc 179). Not only did this statement help provoke the emotion in her story, but it also cr eated imagery for the audience. Her word choice allows the audience to visualize the fire everywhere around her, burning off her clothes and everything around her. Also you can read Rhetorical Devices in Night Walker by Brent StaplesHer words further on in the essay help form her credibility in the forgiveness that she is trying to provoke upon the reader. Still, her story is so detailed and thought provoking to feel some time of emotion for what has happened to her is unavoidable. As her essay goes on, never in the beginning or the middle does she state exactly what caused all the damage around her; Phuc saves the fact that she was burned by napalm until the very end of the essay. By just giving details about what happened instead of stating that fact first and then elaborating on it, allowed the essay to have a more emotional impact on the reader.By finalizing what exactly caused all this damage to her physical being, stating how â€Å"Napalm is very powerful, but faith, forgiveness, and love are much more powerful† (Phuc 180), she made her story that much more credible. Especially when she reiterates how is â€Å"If that little girl in the picture can do it (forgive), ask yourself: Can you? † (Phuc 181). Both Becky Herz and Kim Phuc were able to use emotion in their writing and make their essays credible by using details that forced the reader to actually sit back and think about what they were reading.For instance, in Herz’s essay, just how she wrote about how she went through her day waiting for her husband to call her, it was almost as if she was just writing a note to a friend. Her diction created a relaxed tone though she was talking about something that was anything but that. She didn’t write it like she was trying to make the reader feel sorry for her; she was just revealing that she had hope by going through her everyday routine. â€Å"When people say, ‘Looks like you have your hands full,’ I’ll smile and acknowledge that its true, but I make the nest of it because I believe my husband will call me tomorrow† (Herz 110).Phuc organized her essay the same way. She did not ask for any type of pity in her writing in how she wrote it; the facts about what happened were simply stated. From the very first sentence, â€Å"On June 8, 1972, I ran out from Cao Dai temple in my village, Trang Bang, South Vietnam, I saw an airplane getting lower and then four bombs falling down† (Phuc 179), information was given but pity was not requested. She told what happened, and how from it, her life changed drastically; this unknowingly pulls emotion from the reader, and helps establish even more credibility. The Long Road to Forgiveness† and â€Å"My Husband Will Call Me Tomorrow† are two essays that use literary devices such as pathos, imagery, ethos, and repetition to effectively tell their stories and create an essay where the audience can establish understandings and connections. From Phuc’s essay the reader can visualize almost every single detail that she writes about because the words themselves are so vivid. The reader can see the bombs falling out of the sky as they skim over the words. Becky Herz and Kim Phuc’s essays in This I Believe II are two perfect examples of these literary devices fundamentally being put to use.

El Salon Mexico Copland - Free Essay Example

Sample details Pages: 31 Words: 9167 Downloads: 4 Date added: 2017/09/21 Category Advertising Essay Type Argumentative essay Tags: Study Essay Did you like this example? El Salon Mexico by Aaron Copland: A Study and Comparison of the Orchestral Score and Two Transcriptions for Band D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Erika Kirsten Svanoe, M. M. Graduate Program in Music The Ohio State University 2009 DMA Document Committee: Russel Mikkelson, Advisor Hilary Apfelstadt Richard Blatti Daryl Kinney Copyright by Erika Kirsten Svanoe 2009 Abstract Aaron Copland completed the orchestral score to El Salon Mexico in 1936 marking a turning point in his career. The piece received more performances in the year following its completion than any of his previous orchestral works. It was well received by both critics and audiences due to his focus on melody and shift in thinking towards using the â€Å"simplest possible means† to make the music more accessible to the listener. Mark Hindsley completed a band arrangement of El Salon Mexico in 1966 that included numerous changes to the meter and rhythmic notation found in Copland’s orchestral score. The author conducted a comparative analysis of Copland’s published orchestral score, the El Salon Mexico manuscript materials, Bernstein’s arrangements for piano, and Hindsley’s transcription for band. This investigation sought to determine why Hindsley chose to include metric alterations that differ from the orchestral score, and how he decided what meters would be appropriate. The study of Copland’s manuscript materials of El Salon Mexico revealed that Copland simplified the meter and rhythmic notation after the composition was complete. These rhythmic alterations were completed during the orchestration process in an effort to make the piece more performable. Much of Copland’s original conception of rhythmic notation, that appears in his manuscript sketches, also appear in Bernstein’s piano arrangem ents. In addition, many of the alterations Hindsley utilized were similar to the ii metric and rhythmic notation in Bernstein’s arrangements. In some sections of the music, Bernstein’s and Hindsley’s notation more closely match Copland’s original conception of rhythmic notation than the orchestral score. The comparative analysis also revealed Hindsley’s scoring techniques, including heavy doubling, unnecessary changing of wind instrument timbres and numerous changes to meter and beaming. The author created a new arrangement for band that restores all the orchestral meters and modernizes the instrumentation and orchestration. The intent was to provide today’s conductors the option of using a transcription more closely related to the published orchestral score. iii Dedication Dedicated to my husband and closest friend Erik Evensen. v Acknowledgements I would like to thank my teachers at the Ohio State University for their help and guidance in completing this project, including my committee members Hilary Apfelstadt, Daryl Kinney, Richard Blatti, and especially my advisor Russel Mikkelson who proposed the idea for project and guided the work throughout the process. I would also like to thank him and the Ohio State University Wind Symphony for their preparation of my arrangement that resulted in a wonderful performance. Thank you to Philip McCarthy from Boosey Hawkes, and James Kendrick and Jessica Rauch from the Aaron Copland Fund for Music for assisting with the various permissions needed to complete this project. I would also like to thank the librarians at the Library of Congress for their assistance, particularly Loras Schissel for mailing a copy of a necessary manuscript. Finally, I’d like to thank my family for all of their support the past three years. I need to give a special thank you to my husband Erik Evensen, who has been my greatest supporter. v Vita January 26, 1976. Born, Janesville, WI, US A 1999.. B. M. E. University of Wisconsin – Eau Claire 1999-2001.. Music Educator, Mukwonago, WI 2001-2003.. Graduate Assistant, Oklahoma State University 2003.. M. M. Wind Conducting, Oklahoma State University 2003-2006.. Lecturer, University of New Hampshire 2006-2009.. Doctoral Conducting Associate, Ohio State University 2009-present . Director of Bands, Bemidji State University Field of Study Major Field: Music vi Table of Contents Abstract . ii Dedication iv Acknowledgements v Vita . vi List of Figures.. viii List of Photos .. xii List of Tables xiii Chapter 1: Introduction and Procedures .. 1 Chapter 2: El Salon Mexico for Orchestra .. 7 Chapter 3: The Mark Hindsley Arrangement for Band 45 Chapter 4: The Erika Svanoe Arrangement for Band. 82 Chapter 5: Conclusions and Suggestions for further Research .. 92 Bibliography. 100 Appendix A: Copland’s â€Å"Suggested revisions on band arrangement† 103 Appendix B: El Salon Mexico for Band arranged by Eri ka Svanoe. 05 vii List of Figures Figure 2. 1: Folksong material used in El Salon Mexico 23 Figure 2. 2: Copland, El Salon Mexico, melodic material, mm. 8-13 .. 23 Figure 2. 3: Copland, El Salon Mexico, mm. 23-26, Trumpet . 24 Figure 2. 4: Copland, El Salon Mexico, mm. 39-44, Bassoon 1 . 24 Figure 2. 5: Copland, El Salon Mexico, mm. 61-64, Violin 1, 2, Viola (compressed).. 25 Figure 2. 6: Copland, El Salon Mexico, mm. 6-81, Violin 1 25 Figure 2. 7: Copland, El Salon Mexico, mm. 106-110, Clarinet 1 .. 26 Figure 2. 8: Copland, El Salon Mexico, mm. 135-139, Violin 1. 26 Figure 2. 9: Copland, El Salon Mexico, mm. 185-190, Clarinet 1 . 27 Figure 2. 10: Copland, El Salon Mexico, mm. 256-260, English Horn 27 Figure 2. 11: Copland, El Salon Mexico, mm. 211-214, Clarinet 1 28 Figure 2. 2: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm. 1-3. 32 Figure 2. 13: Copland/Bernstein, El Salon Mexico for Two Pianos, Rhythmic notation, mm. 1-3 .. 32 Figure 2. 14: Copland, El Salon Mexico, Rhythmic notation, mm. 1-5 32 Figure 2. 15: Copland, El Salon Mexico, mm. 124-128, Violin 1.. 33 Figure 2. 16: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2. 5 33 viii Figure 2. 17: Copland, El Salon Mexico, mm. 160-168 (compressed) 34 Figure 2. 18: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2. 17 34 Figure 2. 19: Copland, El Salon Mexico, mm. 130-135, Strings.. 35 Figure 2. 0: Example of revised rhythmic notation in Symphonic Ode. 37 Figure 3. 1: Hindsley Orchestration Chart 51 Figure 3. 2: Copland/Hindsley, El Salon Mexico for Band, mm. 40-44. Bassoons, Contrabassoon, Alto and Tenor Saxophones . 53 Figure 3. 3: Copland, El Salon Mexico, mm. 247-251, Strings 54 Figure 3. 4: Copland/Hindsley, El Salon Mexico for Band, mm. 247-251, Clarinets 54 Figure 3. 5: Copland, El Salon Mexico, mm. 1-64, Strings 55 Figure 3. 6: Copland/Hindsley, El Salon Mexico for Band, mm. 61-64, Clarinets, Cornets 55 Figure 3. 7: Copland, El Salon Mexico, mm. 73-80, Strings 56 Figure 3. 8: Copland/Hindsley, El Salon Mexico for Band, mm. 73-80, Flutes, Clarinets, Cornets 6 Figure 3. 9: Copland, El Salon Mexico, mm. 1-4, Trumpets 57 Figure 3. 10: Copland/Hindsley, El Salon Mexico for Band, mm. 1-4, Cornets, Trumpets 57 Figure 3. 11: Copland, El Salon Mexico, mm. 20-25, Bass Clarinet, Bassoons, Trombone 1 .. 59 ix Figure 3. 12: Copland/Hindsley, El Salon Mexico for Band, mm. 0-25, Bassoons, Saxophones 59 Figure 3. 13: Copland, El Salon Mexico, mm. 221-226 . 61 Figure 3. 14: Copland/Hindsley, El Salon Mexico for Band, mm. 221-226 .. 62 Figure 3. 15: Copland/Hindsley, El Salon Mexico for Band, 1st Version Manuscript (ARCO 28-D) mm. 73-80 .. 63 Figure 3. 16: Copland, El Salon Mexico, mm. 3-80 . 65 Figure 3. 17: Copland/Hindsley, El Salon Mexico for Band, mm. 73-80 .. 66 Figure 3. 18: Copland, El Salon Mexico, mm. 372-375, Viola 69 Figure 3. 19: Copland/Hindsley, El Salon Mexico for Band, mm. 373-377, Clarinet 2, 3 .. 69 Figure 3. 20: Copla nd, El Salon Mexico, mm. 377-379, Violin 2, Viola .. 70 Figure 3. 1: Copland/Hindsley, El Salon Mexico for Band, mm. 380-382, Clarinet 2, 3 .. 70 Figure 3. 22: Copland, El Salon Mexico, mm. 14-15, Trumpets. 71 Figure 3. 23: Copland/Hindsley, El Salon Mexico for Band, mm. 14-15, Cornets, Trumpets 71 Figure 3. 24: Copland, El Salon Mexico, mm. 316-319, Trumpet 1, 2. 72 Figure 3. 5: Copland/Hindsley, El Salon Mexico for Band, mm. 316-319, Trumpet 1.. 72 Figure 3. 26: Copland, El Salon Mexico, mm. 324-326, Horns .. 73 Figure 3. 27: Copland/Hindsley, El Salon Mexico for Band, mm. 324-326, Horns 73 Figure 3. 28: Copland, El Salon Mexico, mm. 252-256, Violins .. 75 x Figure 3. 29: Copland/Hindsley, El Salon Mexico for Band, mm. 252-256, Clarinets 1, 2. 75 Figure 3. 30: Copland, El Salon Mexico, mm. 57-258, Viola 76 Figure 3. 31: Copland/Hindsley, El Salon Mexico for Band, mm. 257-258, Clarinet 1 76 Figure 3. 32: Copland, El Salon Mexico, mm. 10, melodic material. 77 Figure 3. 33: Copland/ Hindsley, El Salon Mexico for Band, m. 10, melodic material . 77 Figure 3. 34: Comparison of rhythmic notation for music corresponding with orchestral mm. 156-172 in the Piano Sketch (ARCO 28-A), Bernstein arrangement for solo piano, and Hindsley’s arrangement for band 8 Figure 3. 35: Copland, El Salon Mexico, mm. 59, Bassoon 80 Figure 3. 36: Copland/Hindsley, El Salon Mexico for Band, m. 59, Bassoon .. 80 Figure 3. 37: Copland, El Salon Mexico, m. 313, Trumpet 1 in C.. 80 Figure 3. 38: Copland/Hindsley, El Salon Mexico for Band, m. 313, Trumpet (displayed in concert pitch) 80 Figure 3. 39: Copland, El Salon Mexico, mm. 60-161, melodic material in Trombone 1, 2, Violin 1, Viola .. 81 Figure 3. 40: Copland/Hindsley, El Salon Mexico for Band, mm. 160-161, melodic material in Horn 2, 4, Trombone 1, 2 81 xi List of Photos Photo 2. 1: ARCO 28. 1, Music corresponding to published orchestral score m. 321 40 Photo 2. 2: ARCO 28-A, Music corresponding to published orchestral score m. 321.. 41 Photo 2. 3: ARCO 28, Music corresponding to published orchestral score m. 378 2 Photo 2. 4: ARCO 28a copy 2, mm. 24-25, Bass Clarinet, Bassoons, Trumpet in C, Trombone .. 43 Photo 2. 5: ARCO 28-A, Music corresponding to published orchestral score mm. 24-25 . 44 xii List of Tables Table 2. 1: Summary of published scores and manuscripts .. 31 Table 3. 1: Comparison of Instrumentation between Copland Orchestral Score and Hindsley Band Score. 49 Table 4. 1: Comparison of Instrumentation between Copland Orchestral Score, Hindsley Band Score, and Svanoe Band Score. 85 xiii Chapter 1: Introduction and Procedures Background Transcriptions and arrangements of works from other mediums hold an important place in the literature of the wind band. For much of the band’s history, a large part of the available literature included orchestral transcriptions. While there has been an enormous increase in the percentage of original compositions for band in the past several decad es, quality transcriptions of significant works from other mediums continue to add depth and variety to the literature as a whole. When a conductor is faced with the task of performing an arrangement or transcription, it is important to refer to the original version during score study and preparation. If the arranger of the new version has made changes that may affect the performance of the piece, it is vital to know what these alterations are, and if they are appropriate. In some cases, changes in an arrangement may not accurately reflect the original composer’s intentions, while other changes are appropriate due to the difference in medium. One such band transcription that deserves a thorough comparative analysis and evaluation is Mark Hindsley’s arrangement of Aaron Copland’s El Salon Mexico. While it is considered to be one of Copland’s lighter orchestral works, it is an important piece because of its place in his compositional output as a whole. It was one of the first works that represented a conscious shift in Copland’s compositional style towards using what he 1 called the â€Å"simplest possible terms. † Copland’s perception that the majority of concert audiences were apathetic towards any music but the established classics was responsible for this shift in thinking. As the audience for new music continued to decrease, Copland experimented with music he thought would appeal to a wider audience. 1 El Salon Mexico was the first successful piece in this new style and helped Copland gain widespread popularity. Hindsley’s band arrangement is significant not only because of Copland’s status as one of America’s premiere composers, but because of its widespread use by bands. It has appeared on several state high school contest lists including Texas, Florida, Arkansas, and Virginia and was recorded by both the University of Illinois and the Cincinnati Conservatory. 3 It also appears re gularly on collegiate band programs. 4 However, Hindsley made several editorial decisions, particularly regarding meter, which differ significantly from the score of the orchestral work. One purpose of this study is to compare Aaron Copland’s El Salon Mexico for orchestra with Mark Hindsley’s transcription for band and to evaluate the editorial changes made in the band version. Finally, a new arrangement of El Salon Mexico for band was created in which all of Copland’s orchestral meters were restored. Aaron Copland Aaron Copland (1900-1990) is one of the most significant American composers of the 20th century. He won the Pulitzer Prize and the New York Music Critics’ Circle 1 2 Copland, â€Å"Composer from Brooklyn,† xxvi. Berger, Aaron Copland, 30. Shattingermusic. com 4 CBDNA Report 2 Award for Appalachian Spring and his film scores earned him four Academy Award nominations and one win for The Heiress in 1949. He was elected to the American Ac ademy of Arts and Letters in 1954, received the Academy’s Gold Medal in 1956, and served as the Academy’s president in 1971. Other awards included a MacDowell Medal in 1961, a Presidential Medal of Freedom in 1964, a Kennedy Center Honor in 1979, a Medal of the Arts in 1986, and a Congressional Gold Medal in 1986, as well as several honorary doctorates. While Copland’s music has been acknowledged by prestigious awards, it is also recognized by much of the American populous because of its infiltration into popular culture. His music has been used to promote the Olympics, the armed forces and the United States beef industry, because â€Å"when it comes to music that summons up images of America in the minds of American listeners, Copland is unique†¦ in each case the promoters have wanted to tap into deep-seated feelings that, somehow, this music evokes like almost nothing else. 6 The youngest of five children, Aaron Copland was born on November 14, 1900 in B rooklyn, New York to his parents Harris and Sarah Copland. Throughout his youth Copland studied piano, theory, and composition with various teachers and supplemented his education by attending recitals and concerts. In 1921 he traveled to Paris where he studied composition with Nadia Boulanger, his most influential teacher. While studying with Boulanger Copland produced his first orchestral score, Grohg, which he completed upon his return to the United States in 1924. In addition, Boulanger arranged for two 6 Howard Pollack. Copland, Aaron. In Grove Music Online. Burr, â€Å"Copland, the West and American Identity,† 22. 3 performances of Copland’s organ concerto to be performed by both the New York and Boston Symphony Orchestras with herself as soloist. The performance of the Organ Symphony under the baton of Sergey Koussevitzky initiated an important relationship for Copland. Koussevitzky became one of Copland’s greatest collaborators and champions. 7 Upon Cop land’s return the United States, he felt the need to compose modern music that was identifiably American. He began to incorporate jazz into his symphonic works such as Music for Theatre (1925) and the Piano Concerto (1926). 8 While Copland had the support of Koussevitzky and several other musicians, critics, and artists, much of the press regarded his music with skepticism. His Piano Concerto, performed by the Boston Symphony Orchestra with himself as pianist, had a particularly unfavorable reception. 9 Olin Downs of the New York Times wrote â€Å"It progresses by fits and starts†¦confirming [the listener’s] suspicions that Mr. Copland needs a firmer hold of principles of musical structure†¦ Here is a young man who can surely not remain content with the praise of partisans or knowledge of his own artistic shortcomings. †10 Public audiences had similar reactions. At a performance of the Piano Concerto in Mexico there were so many hisses from the a udience during the performance that Copland looked to the conductor, Carlos Chavez, for a sign of whether to continue the performance. 11 Copland’s compositional activity decreased in the late 1920s. He entered a selfreflective period in which he considered his own compositional path, as well as the path of American music. In his 1939 essay â€Å"Composer from Brooklyn† he stated: 7 8 Howard Pollack. Copland, Aaron. In Grove Music Online. Crist, Music for the Common Man, 42. 9 Pollack, â€Å"Copland, Aaron. In Grove Music Online. 10 Berger, Aaron Copland, 24. 11 Copland and Perlis, Copland, 216. 4 I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old â€Å"special† public of the modern-music concerts had fallen away, and the conventional concert public continued apathetic of indifferent to anything but the established classics. It seemed to me that we composers were in danger of work ing in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms. 12 It was El Salon Mexico that â€Å"developed and heralded his new style. 13 It embodied Copland’s new tendency toward â€Å"imposed simplicity. †14 For the untrained listener the use of folksongs and programmatic title helped bridge the gap from absolute music. It was accessible for audiences who did not have musical training or the ability to perceive formal structures. The piece was immediately popular receiving more performances than any of his other orchestral works and brought Copland’s new compositional style to the attention of the public. El Salon Mexico established Copland as a â€Å"successful† composer and was directly responsible for his pu blishing contract with Boosey Hawkes. Impressive honors would soon follow, including a commission from the Columbia Broadcasting System for Music for Radio (1937), election to the National Institue of Arts and Letters in 1942, and the 1945 Pulitzer Prize in music for Appalachian Spring. 15 In the decade that followed 1935, Copland did not entirely abandon writing in his more abstract style, though most of his efforts had some element of functionality, such as An Outdoor Overture (1939), composed for students, or included external matter that 12 13 Copland â€Å"Composer from Brooklyn,† xxvi. Berger, Aaron Copland, 30. 4 Copland, â€Å"Composer from Brooklyn†, xxvi. 15 Berger, Aaron Copland, 30-31. 5 gave the piece an element of being programmatic, such as Appalachian Spring (1944). Many of Copland’s most popular and well-known works are from this time span, including Fanfare for the Common Man (1942) and Rodeo (1942). Pieces such as his Piano Sonata (1941) a nd Sonata for Violin and Piano (1943) are representative of his more abstract style during this time period. However, it was not until he composed his Third Symphony (1946) that he composed for the orchestra without programmatic elements. 6 Copland commented on what was perceived as an abandonment of his more complex music in his 1967 addition to â€Å"Composer from Brooklyn. † The assertion that I wished â€Å"to see if I couldn’t say what I had to say in the simplest possible terms† and the mention of â€Å"an imposed simplicity† were taken to mean that I had renounced my more complex and â€Å"difficult† music†¦ these remarks of mine emphasized a point of view which, although appropriate at the time of writing†¦seems to me to constitute an oversimplification of my aims and intentions, especially when applied to a consideration of my subsequent work and of my work as a whole. 7 While the ten years that followed El Salon Mexico seemed to focus on Copland’s new accessible style, he later felt that there was no disparity between his two compositional styles, the simple and the complex. Rather, he adapted his technique to the materials with which he chose to work. [There is] a continuing discussion concerning the apparent dichotomy between my â€Å"serious† and my â€Å"popular† works. I can only say that those commentators who would like to split me down the middle into two because I take into account with each new piece the purpose for which it is intended and the nature of the musical materials with which I begin to work. Musical ideas engender pieces, and the ideas by their character dictate the nature of the composition to be written. 18 16 17 Berger, Aaron Copland, 32. Copland, â€Å"Composer from Brooklyn,† xxvi-xxvii. 18 Ibid. , xxxii. 6 By the late 1940s Copland was widely regarded as the leading American composer of his time. While he had lived in Manhattan for many years, he m oved to Ossining, New York in 1952. Through the 1950s he continued to lecture, teach and write and in 1958 began a 20-year international conducting career, presenting both this own works and the music of over 80 other composers. In 1961 Copland moved into a larger home located near Peekskill, New York where he lived until his death. He did not compose much after 1972 and began to suffer short-term memory lapses in the mid1970s. After being diagnosed with Alzheimer’s he was under medical supervision by the mid-1980s. He died of respiratory failure on December 2, 1990. 19 El Salon Mexico During a visit to Mexico in the autumn of 1932, Copland conceived of writing a piece based on Mexican themes. From the beginning, he connected the piece with a popular dance hall in Mexico City called Salon Mexico. He realized he did not want to attempt to reflect the profound, historical side of Mexico since he felt he did not truly know the country. Instead he wanted to reflect this tou rist â€Å"hot spot† where he also felt a close connection with the Mexican people. While the work references several Mexican folk songs, Copland transforms the melodies into his own musical language. He said â€Å"It wasn’t the music that I heard, but the spirit that I felt there, which attracted me. Something of that spirit is what I hope to have put into my music. The work was completed in 1936 and premiered by Carlos Chavez and the Orquesta Sinfonica de Mexico the summer of the following year. 19 Pollack, â€Å"Copland, Aaron. † In Grove Music Online. 7 El Salon Mexico is a significant work in Copland’s compositional output for several reasons. First, this piece came at a time when Copland was beginning a shift in thinking toward trying to say things in the â€Å"simplest possible terms. † The works that followed the Symphonic Ode (1929), the composition that marks the culmination of Copland’s austere writing up to that point, gradually evolved towards a generally more accessible aesthetic. Copland’s focus on melody and the use of Mexican folksongs in El Salon Mexico were important elements that helped Copland write in a more accessible style, as well as attain wider audience appeal of his music. Second, this was Copland’s first work to utilize borrowed folk tunes, a tool he would use throughout his career. While some of the material he borrowed is a direct quotation, his treatment of folksongs more often employs a transformation of the materials, making them a part of Copland’s compositional language, deftly retaining the spirit and character of the tunes. Copland’s motive for turning to these melodies was â€Å"an aspect of his campaign to achieve a simple style and a content that would engage the interest of a wider audience. †20 Third, due to greater interest in his music, Copland became enormously successful. El Salon Mexico introduced the composer to a larger audience and earned him popular acclaim. Compared to Statements and the Short Symphony, which received hardly any performances, by 1938 El Salon Mexico had been performed by 21 orchestras. Also, it was at the 1938 European premier of this work that Copland met Benjamin Britten, who in turn introduced Copland to his publisher Boosey Hawkes. El Salon 20 Berger, Aaron Copland, 57. 8 Mexico, along with Music for Radio, were the first works to be published by the London firm. El Salon Mexico clearly marks a compositional turning point for Copland in several ways. His conscious efforts to appeal to a wider audience, use of folksong materials, and the success that followed the premiere all contribute to the fact that this work was an important milestone in Copland’s compositional output. Several arrangements of the piece were created. Leonard Bernstein arranged both the solo piano and two piano versions in 1941 and 1943 respectively. A truncated version titled â€Å"Fantasia Mexican a† dated 1952 was adapted and orchestrated by Johnny Green for the MGM motion picture Fiesta. Arturo Toscanini wrote an unpublished arrangement for piano, possibly for his own study of the orchestral score. 21 Mark Hindsley completed his arrangement for concert band in 1966. While Copland created several band arrangements of his own works, as well as composing Emblems (1964) for band, he did not create a band version of El Salon Mexico. His first transcription for band was An Outdoor Overture (1938), originally composed for high school orchestra. The band transcription was completed at the request of Edwin Franko Goldman and was premiered by the Goldman Band in 1942. The other transcriptions Copland completed for band include Variations on a Shaker Melody (1956), Preamble for a Solemn Occasion (1949), Inaugural Fanfare (1977), and Red Pony Suite (1948). 22 Since the Toscanini is an unpublished reduction of the published orchestral score and the Green is a truncated version of the orchestral score, these two versions did not factor into this study. 2 Briskey, â€Å"The Symphonic Band Repertoire of Aaron Copland,† 38-42. 9 21 Mark Hindsley (1905-1999) created the band arrangement of El Salon Mexico in 1966. Hindlsey was the Director of Bands at the University of Illinois from 1948 until he retired in 1970. He completed dozens of arrangements for band, most of which are selfpublished and still available from his son, Roger Hindsley, who currently distributes his music. 23 The only band arrangement of Hindsley’s that is not currently self-published is El Salon Mexico, published by Boosey Hawkes. According to a 1982 survey by Earle Gregory, it was (and likely still is) one of Hindsley’s most often played transcriptions. The distribution capabilities of Boosey Hawkes certainly contribute to its availability and popularity. 24 Review of Related Research The majority of literature regarding El Salon Mexico relates to the background s tory of the composition or how the work fits into Copland’s compositional output as a whole. There is no in-depth analysis of the work to date. This lack of analytical research is also noted by Leo Philip Fishman in his recent dissertation â€Å"Theoretical Issues and Presumptions in the Early Music of Aaron Copland† (2007). Fishman states that â€Å"there has been a dearth of useful research concentrating on theoretical aspects of his music while there has been a great deal of work on contextualizing Copland as a way to explain his oeuvre. 25 Fishman’s study concentrates on four early works of Copland’s, none of which is El Salon Mexico. www. hindsleytranscriptions. com Gregory, â€Å"Mark H. Hindsley: The Illinois Years,† 162-3. 5 Fishman, â€Å"Theoretical Issues and Presumptions in the Music of Aaron Copland,† vi. 10 24 23 The most relevant literature that addresses questions posed by this study is either limited in scope or tangenti al to the topic. Only two limited analyses of the orchestral El Salon Mexico were discovered. No literature could be found regarding Hindsley’s band transcription. Topics that were considered tangential but supportive to the study include studies of the piano arrangements of El Salon Mexico by Leonard Bernstein, Mark Hindsley’s other arrangements for band, and Copland’s use of metric and rhythmic notation in other works. The most relevant literature within these topics is summarized here. The best information that could be considered an analysis of El Salon Mexico is by Gerald Abraham. When Boosey Hawkes published the miniature score of El Salon, it was traditional for analytical notes to be included. The four-page insert gives a brief summary of the story of the Mexican dance hall and Copland’s inspiration for writing the piece. Most of the information outlines Copland’s use and alteration of Mexican folksongs and where they appear in various guises throughout the piece. Abraham outlines his interpretation of the form, which is debatable but certainly workable version of the formal structure. The notes are of high quality and give an excellent summary of the work, but are very limited in scope. 26 â€Å"A Comparison and Analysis of Aaron Coplands El Salon Mexico for Orchestra, Piano Solo, and Two Piano Four Hands† by Richard Glazier gives a brief analysis of the orchestral version and documents some of the differences between it and the piano arrangements by Leonard Bernstein. Most of the analysis is drawn from Gerald Abraham’s notes published in the miniature score, though Glazier additionally illustrates 26 Abraham, â€Å"Aaron Copland: El Salon Mexico. † 11 Copland’s use of polyrhythm and polytonality. In comparing the rhythmic notation of the orchestral and piano versions and reading Copland’s essay â€Å"On the notation of rhythm,† Glazier recognizes that Copland simpl ified the meter in the orchestral version. Some of the other rhythmic notation that appears in the piano versions he credits to Bernstein, but in some cases this notation originally appears in Copland’s hand in the manuscript materials. It is clear that Copland’s manuscripts of El Salon Mexico were not examined as part of this study. Glazier’s purpose is to document some of the differences in the piano versions and defend them as artistic additions to piano literature. 27 Research regarding Copland’s practice of rewriting rhythmic notation in his orchestral works includes â€Å"The Compositional History of Aaron Copland’s Symphonic Ode† by Elizabeth Bergman Crist. She constructs the history of the composition through existing manuscript materials and correspondence. Crist demonstrates the process and circumstances that led to Copland’s rebarring of the Symphonic Ode, and substantiates that Koussevitzky was largely responsible fo r initiating these changes. The article also provides evidence that Copland preferred his original rhythmic notation. This was discovered through his restoration of the original notation in the revised 1955 edition. 28 Research regarding Mark Hindsley’s band transcriptions was done by Earle Suydam Gregory and documented in his dissertation â€Å"Mark H. Hindsley: The Illinois Years. It documents the professional activities of Hindsley with emphasis on his research into the construction of instruments, his contributions to the University of Illinois band building, and his contributions to band literature through transcriptions. 27 28 Glazier, â€Å"A Comparison and Analysis of Aaron Coplands El Salon Mexico. † Crist, â€Å"The Compositional History of Aaron Copland’s Symphonic Ode. † 12 This includes a study of the scoring practices of Hindsley by examining a sample of his orchestral transcriptions for band and an analysis of how each nstrument was utiliz ed. The research confirms and expands much of Hindsley’s own writings in Hindsley On Bands. 29 Procedures and Purpose of the Study I first became familiar with El Salon Mexico when I was playing clarinet on Suite from Billy the Kid with a youth orchestra. It was at this time I became interested in Copland’s other works for orchestra. I did not formally study the piece until I was asked to conduct Mark Hindsley’s band transcription for an audition at the Ohio State University. During the course of my study, I learned that there were several places in Hindsley’s score where the meters published in the band arrangement differ from the meters in Copland’s original orchestral score. These discrepancies led me to several questions. What is happening in the original orchestral score that may have initiated the meter changes in the band score? What are all of the meter changes that Hindsley utilized? Why did the arranger choose to use different meters a nd how were the meters chosen? Do other arrangements of El Salon Mexico also alter the meter? Did Copland approve of the changes Hindsley made? Is a new band arrangement of El Salon Mexico with the orchestral meters restored warranted? These are the questions that led me to develop this study in the manner that follows. At the start of this process, I determined that a new band arrangement of El Salon Mexico was warranted and could be an important addition to band literature. The changing of meters and beaming in arrangements, such as the Hindsley arrangement, can 29 Gregory, â€Å"Mark H. Hindsley: The Illinois Years. † 13 pose difficulties for musicians. In the case of El Salon Mexico, many college wind players learn the piece in the band arrangement, but then must relearn the different meters when called upon to play the original orchestral version. Regardless of whether changing the original meters for an arrangement is an improvement or not, the relearning of music in different meters is a difficult task for both conductors and players. Since it is highly unlikely that a different edition of the orchestral version of El Salon Mexico will be available, I felt it was important that band directors have an arrangement in which the meters of the orchestral version were maintained. In addition, Hindsley’s arrangement was conceived for a large band with over 90 musicians. College bands of this size were much more common in the 1960s than they are today. Today’s collegiate bands use a smaller number of musicians, more in line with a wind ensemble instrumentation. This trend gained acceptance at many colleges and universities in the 1970s. 30 Even the majority of today’s large concert bands are significantly smaller than Hindsley’s model. The new band arrangement of El Salon Mexico was created both to restore the orchestral meters and modernize the instrumentation. I felt many of the questions posed could be answered by doing a comparative analysis between Copland’s orchestral score and Hindsley’s band arrangement. This was completed in two stages. First, I completed an overall study of the orchestral work, with special consideration for rhythm and meter. Second, I compared several aspects of the Hindsley band arrangement to the orchestral score. These aspects included instrumentation, meter, beaming, key signatures, and overall scoring. 30 Battisti, Winds of Change, 68. 14 Since a dialogue with either the composer or arranger was impossible, I decided to review all of the relevant sketches, manuscripts, and correspondence between Copland and Hindsley. To accomplish this I visited the Library of Congress and examined all of the materials relating to El Salon Mexico. It was my premise that an examination of Copland’s sketches and original manuscripts would lead to a deeper understanding of the work and its compositional process, as well as confirm possible errata found dur ing the analysis. To discover any possible contact between Hindsley and Copland, I also searched for and examined correspondence relating to the band arrangement. Chapter Two examines Copland’s orchestral score of El Salon Mexico. This includes a background of its creation and how it fits into a shift in thinking at this point in Copland’s compositional output. It includes a brief formal analysis noting thematic development and use of folksong. The use of meter, beaming, and rhythm is also examined in depth. Chapter Three discusses Hindsley’s arrangement of El Salon Mexico for band. This will include changes made by Hindsley in the band arrangement pertaining to instrumentation, meter, beaming, key signatures, and overall scoring. All metric alterations in the Hindsley are documented and cataloged according to the type of alteration made, and the origins of these alterations are explored. The publication history, relevant correspondence, revisions to the o riginal band manuscript and errata are also be examined. Chapter Four compares the new arrangement for band, created by myself, to the Mark Hindsley band arrangement and Copland’s original orchestral score. It includes a discussion of the decision making process regarding instrumentation, use of key 15 signatures, overall scoring, meters, and beaming. It also documents changes made due to errata found in both the Hindsley band arrangement, as well as the original orchestral score. Chapter Five presents a summary of the findings of the study and provides suggestions for further research. Description of Appendices Appendix A: Copland, â€Å"Suggested Revisions on band arrangement of El Salon Mexico† Appendix B: Full score of El Salon Mexico for band arranged by Erika Svanoe 16 CHAPTER 2: El Salon Mexico for Orchestra In 1935 Copland organized a series of â€Å"one-man concerts† featuring the works of one living composer on each program. In observing the audi ences at this series Copland stated â€Å"As I looked around at the all-too-familiar small group at these concerts, I knew that I wanted to see a larger and more varied audience for contemporary music. †31 At this time Copland was finishing El Salon Mexico in which he said he was experimenting with a different style of writing. He was not rejecting one kind of music for another, but felt it was time to try something new. 2 Copland considered the first version of the Symphonic Ode from 1929 to be the piece that marked the end of his most austere and complex compositions. The move toward a simpler style was a gradual transition in the works that followed. In retrospect it seems to me that the Ode marks the end of a certain period in my development as a composer. The works that follow it are no longer so grandly conceived. The Piano Variations (1930), the Short Symphony (1933), the Statements for Orchestra (1935) are more spare in sonority, more lean in texture. They are stil l comparatively difficult to perform and difficult for an audience to comprehend. 33 El Salon Mexico was first conceived while Copland was simultaneously working on two other works in the fall of 1932 in Mexico: Short Symphony and Statements. â€Å"These three works and their combined compositional histories document Copland’s 31 32 Copland and Perlis, Copland, 244. Copland and Perlis, Copland, 245. 33 Copland, â€Å"Composer in Brooklyn,† xxvi. 17 refinement of a simplified musical idiom that emphasizes aural accessibility and draws on the melodic resources of traditional tunes. 34 It is El Salon Mexico and its position in Copland’s compositional output as one of the first of several works to simplify his musical language that makes it particularly significant. Short Symphony is composed in a similar vein as Copland’s earlier works, such as the Piano Variations, which focuses on structural unity and uses a dissonant avant-guard style. Statements still u tilizes this type of style, but focuses less on formal structure and is more episodic. Copland also hoped that the suggestive movement titles, such as â€Å"Militant† and â€Å"Cryptic,† would make the piece more palatable to the listening audience. El Salon Mexico also uses an episodic form, but focuses more on melody than these other works. 35 The reason for this shift toward melody comes primarily from the materials Copland chose to work with, which were inspired by the music he heard during his trip to Mexico in 1932. For several years prior to his trip, Copland had promised Carlos Chavez that he would visit Mexico. When Chavez promised him an all-Copland program by the Conservatorio Nacional de Mexico, he felt the time had come. He left New York on August 24, accompanied by Victor Kraft, and arrived in Laredo September 2, the morning of the concert. Copland remained in Mexico for five months. During Copland’s visit, Chavez took him to a dance hall in Mexico City called El Salon Mexico, known to the locals as â€Å"El Marro† or the policeman’s nightstick. It was a popular place for tourists who wanted a taste of how the local lower class sought 34 35 Crist, Music for the Common Man, 43. Crist, Music for the Common Man, 43-4. 18 entertainment. 36 The atmosphere of the place made an impression on Copland and he came away with the idea to create El Salon Mexico. El Salon Mexico had been ‘in the works’ since my first trip to Mexico in 1932 when I came away from that colorful dance hall in Mexico City with Chavez. I had read about the hall for the first time in a guidebook about tourist entertainment: ‘Harlem type night-club for the peepul, grand Cuban orchestra, Salon Mexico. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot. ’ A sign on a wall of the dance hall read: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet. A guard, stationed at the bottom of the steps leading to the three halls, would nonchalantly frisk you as you started up the stairs to be sure you had checked all your ‘artillery’ at the door and to collect the 1 peso charged for admittance to any of the three halls. When the dance hall closed at 5:00 A. M. , it hardly seemed worthwhile to some of the overalled patrons to travel all the way home, so they curled themselves up on the chair around the walls for a quick two-hour snooze before going to a seven o’clock job in the morning. 37 Copland did not want to try to translate the profound side of Mexico into a musical work. He felt he did not know the country well enough to attempt this. Rather he wanted to reflect the spirit of the dance hall and his experiences he had there with the Mexican people as a tourist. The â€Å"people† were reflected in Copland’s use of traditional folksongs. C opland stated â€Å"I began (as I often did) by collecting musical themes or tunes out of which a composition might eventually emerge. It seemed natural to use popular Mexican melodies for thematic material†¦My purpose was not merely to quote literally but to heighten without in any way falsifying the natural simplicity of Mexican tunes. 38 Having the piece sound â€Å"Mexican† was a concern of Copland’s. He wrote to Chavez expressing his concern â€Å"I am terribly afraid of what you will say of the ‘Salon Mexico’-perhaps it is not Mexican at all, and I would feel so foolish. But in America del 36 37 Crist, Music for the Common Man, 51. Copland and Perlis, Copland, 245. 38 Ibid. , 245. 19 Norte it may sound Mexican! †39 He wrote again to Chavez in 1935: â€Å"What it would sound like in Mexico I can’t imagine, but everyone here for whom I have played it seems to think it is very gay and amusing. 40 Once Chavez heard Copland perform th e piano version, he agreed to conduct it once the orchestration was complete. The premiere took place on August 27, 1937 in Mexico City with Orquesta Sinfonica de Mexico at the Palacio de Bellas Artes. The music was well received by the musicians and public with newspapers stating the piece could be taken as Mexican music. The piece was immediately popular. Twenty-one orchestras had performed the piece by 1938. 41 The first American performance was conducted by Koussevitzky with the Boston Symphony Orchestra on October 14, 1938. Another significant performance was at the 1938 International Society for Contemporary Music concert in London where Copland met Benjamin Britten, who was responsible for introducing Copland to the publishing firm Boosey Hawkes. In a letter to Ralph Hawkes Britten wrote â€Å"I’m fearfully anxious for you to cash in on Aaron Copland – the American composer – now without a publisher since Cos Cob Press gave up. His El Salon Mexico wa s the brightest thing of the festival†¦. I feel he’s a winner somehow. †42 Ralph Hawkes wrote to Copland August 12, 1938 expressing an interest in publishing El Salon Mexico. 3 Negotiations by written correspondence ensued and Copland eventually convinced the firm to publish Music for Radio as well. It was Ibid. , 246. Ibid. , 246. 41 Crist, Music for the Common Man, 43-4. 42 Mitchell and Reed, eds. , Letters from a Life, 566. 43 Ralph Hawkes to Aaron Copland, 12 August 1938, Aaron Copland Collection, Library of Congress. 20 40 39 Hawkes who suggested that more performances of El Salon Mexico would be possible if the instrumentation was slightly reduced and suggested that having a second version of the piece available with smaller instrumentation. 4 Instrumentation: The full instrumentation for El Salon Mexico is as follows: Piccolo 2 Flutes 2 Oboes English horn Clarinet in E-flat 2 Clarinets in B-flat Bass Clarinet in B-flat 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in C 3 Trombones Tuba Timpani Percussion Piano Strings (Violins, Violas, Cellos, Contrabasses) The percussion part calls for multiple instruments: xylophone, suspended cymbal, gourd, temple blocks, wood block, bass drum, snare drum, and tambour de Provence, which Copland describes as a long drum with a dull sound. The gourd was the only Mexican percussion instrument that he included in the piece. This may have been for the best, since several orchestras of the time had a difficulty acquiring a proper gourd for performances. Some of the wind instruments were marked in the score as â€Å"not essential to performance. † At the request of Ralph Hawkes, and likely seeing the opportunity for 44 Ralph Hawkes to Aaron Copland, 20 September 1938, Copland Collection. 21 more performances with a reduced instrumentation, Copland created an alternate scoring to accommodate this request, eliminating the need for the English Horn, Clarinet in Eflat, Bass Clarinet, Contrabassoon , and Trumpet 3. Folksong Materials and Form Copland used several Mexican folk songs, found in published collections, as the basis for many of the melodies in El Salon Mexico. Two of the songs, â€Å"El Palo Verde† and â€Å"La Jesuita† were found in Cancionero Mexicano edited by Frances Toor. â€Å"El Mosco† and â€Å"La Malacate,† an indigenous dance tune, were found in El Folklore y la Musica Mexicana by Ruben M. Campos. These melodies are not usually used in their original form, but rather Copland derived new melodic material from them. 45 An excellent summary of Copland’s use of these folk songs comes from musicologist Gerald Abraham. When Boosey Hawkes published the miniature score, it was customary to provide analytical notes about the music. The publisher asked Abraham to write the notes for El Salon Mexico. 46 The four-page insert includes excerpts of the original folksong material and documents Copland’s alteration of these melodies into the thematic material used in the piece. Abraham notes the three most utilized melodies as â€Å"El Palo Verde,† La Jesusita,† and â€Å"El Mosco. † He describes the form of the piece as a â€Å"subtilised and elaborated ternary from, with a long introduction. †47 Abraham illustrates Copland’s alteration of each of the folksongs, as well as documents where material derived from each folksong appears in the piece. 45 Lee, Masterworks of 20th -Century Music, 119. 46 Dickenson, â€Å"Copland’s Earlier British Connections,† 169-70. 47 Abraham, â€Å"Aaron Copland: El Salon Mexico. † 22 Figure 2. 1: Folksong material used in El Salon Mexico48 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The melodic material from the opening is derived from the first strain of â€Å"El Palo Verde† Figure 2. : Copland, El Sa lon Mexico, melodic material, mm. 8-13 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 48 Abraham, â€Å"Aaron Copland: El Salon Mexico. † 23 Beginning in measure 23, the trumpet solo is based on â€Å"La Jesusita† Figure 2. 3: Copland, El Salon Mexico, mm. 23-26, Trumpet EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The duet between bassoon and bass clarinet starting at measure 39 is a rhythmically altered version of â€Å"El Mosco. Figure 2. 4: Copland, El Salon Mexico, mm. 39-44, Bassoon 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 24 At measure 61, the strings have material modified from the second strain of â€Å"El Palo Verde† This same material also appears twice more during the piece beginning at measures 145 and 353. Figure 2. 5: Copland, El Salon Mexico, mm. 61-64, Violin 1, 2, Viola (compressed) EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The melody in the strings beginning at measure 76 is derived partly from the second strain of â€Å"El Mosco. † This theme concludes the section that Abraham labels as the introduction. Figure 2. 6: Copland, El Salon Mexico, mm. 76-81, Violin 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The Allegro Vivace begins at measure 103 and marks the start of what Abraham calls the first section of the ternary form. It begins with material related to the opening measures illustrated above in Figure 2. 2. This is followed by a theme derived from both 25 he altered material from â€Å"El Palo Verde† at the beginning of the piece, and the second strain of â€Å"El Mosco. † Figure 2. 7: Copland, El Salon Mexico, mm. 106-110, Clarinet 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. New material is added to the beginning of the previous theme at measure 135 but is very similar. Figure 2. 8: Copland, El Salon Mexico, mm. 135-139, Violin 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 6 The material from Figure 2. 5 returns at measure 145 and is followed by a variant of Figure 2. 2 from measures 175-182. This concludes the Allegro Vivace section and what Abraham labels the first large section of a ternary form. The second section of this form begins at measure 183 at the tempo change marked â€Å"Moderato molto (rubato). † The clar inet solo that follows (Fig. 2. 9) is a version of Figure 2. 7. Abraham states this version â€Å"recurs several times in the section as a species of refrain, holding it together. † One such reiteration is a rhythmic variant in the English horn at measure 256. (Fig. 2. 10) Figure 2. 9: Copland, El Salon Mexico, mm. 185-190, Clarinet 1 Figure 2. 10: Copland, El Salon Mexico, mm. 256-260, English horn EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 27 At measure 211, melodic material in the solo clarinet is derived from â€Å"La Jesusita† and is then restated in the strings. Figure 2. 11: Copland, El Salon Mexico, mm. 211-214, Clarinet 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. Abraham describes the remainder of the middle section consisting of rhythmic de velopment of this tune and material from the first section. Copland writes of the section â€Å"before the final climax I present the folk tunes simultaneously in their original keys and rhythms. The result is a kind of polytonality that achieves the frenetic whirl I had in mind before the end, when all is resolved with a plain unadorned triad. †49 The return of the main section occurs at measure 324. The material is very similar to what had been heard previously but with slightly altered keys. The piece ends with the fanfare-like material from the opening measures. 0 Manuscript materials and changes in rhythmic notation Copland himself noted that orchestras had a difficult time performing El Salon Mexico. â€Å"El Salon was not easy to perform; it presented rhythmic intricacies for the 49 50 Copland and Perlis, Copland, 246. Abraham, â€Å"Aaron Copland: El Salon Mexico. † 28 conductor and the players. †51 There are many places in the orchestral version where e ighth notes are beamed over a barline, dotted barlines and brackets are used to indicate an alteration of normal rhythmic stress, and more than one time signature is often indicated or simply implied by the placement of accents. The need for this kind of rhythmic notation can be observed upon examination of the manuscript materials in the Aaron Copland Collection cataloged at the Library of Congress. Description of the manuscript materials The initial â€Å"Sketches† of El Salon Mexico are cataloged at the Library of Congress in the Aaron Copland Collection as ARCO 28. 2. It appears that Copland began his initial sketches of in March of 1933, which is the earliest date noted on the manuscript. These sketches are in pencil, do not always follow the progression of the piece, and have large sections crossed out. They illustrate a working out of melodic material and experimentation with different meters. The â€Å"Piano Sketch† (ARCO 28-A) is dated 1934 on the front cover. The date at the end of the manuscript notes it was completed in July, 1934. The Piano Sketch is a 21page manuscript that uses between two and four staves and progresses through the piece from beginning to end. Revisions were still being made as some sections are crossed out, but then continue on sequentially with revised material. Copland wrote most of the Piano Sketch initially in pen and his original, more complex concept of the meter and beaming appear in pen. Many of the meters and beaming that appear in Leonard Bernstein’s piano arrangements appear in the Piano Sketch. There are also marks in lead and blue pencil throughout this manuscript. Many of the pencil markings indicate instruments for 51 Copland and Perlis, Copland, 247. 29 orchestration or possible changes to the choice in meter. While the pencil indications of meter do not match the meters of the final published orchestral version exactly, they are certainly less complicated than the original metric i ndications that appear in pen and are a step closer to what was published in the orchestral score. There are three orchestral manuscript scores cataloged at the Library of Congress. One is cataloged as the â€Å"Rough Orchestral Score† (ARCO 28. 3) and notes â€Å"began Aug. 9, 1934. † The manuscript is in pencil, but is incomplete and only four pages in length. The second â€Å"Full Score (Draft)† (ARCO 28. 1) is a complete draft in pencil, but has no date indicated. The final â€Å"Full Score† (ARCO 28) is complete and mostly completed in ink with some red and blue pencil marks indicating rehearsal numbers and time signatures respectively. The date on the front cover is 1936. 2 There are several arrangements and other works that are significant to the study of changes in rhythmic notation in El Salon Mexico beyond the manuscript materials. These include Bernstein’s and Hindsley’s various arrangements of the work, as well as Copland†™s 1929 and 1955 versions of the Symphonic Ode for orchestra, which is discussed later in this chapter. The table below summarizes all relevant documents in chronological order. 52 El Salon Mexico manuscripts. Aaron Copland Collection. Library of Congress. 30 Year 1929 1933 1934 1934 c. 1934 1936 1939 1941 1943 1955 1966 1972 Document name Symphonic Ode (for orchestra) Sketches El Salon Mexico Piano Sketch El Salon Mexico Rough Orchestral Score El Salon Mexico Full Score (Draft) El Salon Mexico Full Score El Salon Mexico El Salon Mexico (for orchestra) El Salon Mexico (for piano solo) El Salon Mexico (for two pianos) Revised Symphonic Ode (for orchestra) 1st Version manusciript El Salon Mexico (for band) El Salon Mexico (for band) Composer/Arranger Other information Copland withdrawn, revised in 1955 Copland ARCO 28. 2 manuscript Copland ARCO 28-A manuscript Copland ARCO 28. manuscript Copland ARCO 28. 1 manuscript Copland ARCO 28 manuscript Copland published Copland/Bernstein published Copland/Bernstein published Copland published Copland/Hindsley ARCO 28-D manuscript Copland/Hindsley published Table 2. 1: Summary of published scores and manuscripts Changes in Rhythmic Notation One of the reasons for the â€Å"rhythmic intricacies† that Copland mentioned is that he originally conceived of groupings of eighth notes in groups of twos and threes that would call for shifting irregular time signatures. 53 In the Piano Sketch these groupings occur starting on the beat. While time signatures do not appear in ink on the Piano Sketch manuscript for the measures in the figure below, the groupings and barlines appear to be the same as Leonard Bernstein’s arrangement for two pianos with the appropriate time signatures added. The one change in rhythm between the two examples is the eighth rest that appears at the end of the third measure. However, this rest does appear in the orchestral version. â€Å"Irregular† time signatures are defined for the purposes of this study as meters that have uneven groupings of eighth notes. For example, a time signature of 7/8 could have an eighth note grouping of 2+2+3. This would be defined as â€Å"irregular. † Other meters that would be included in this definition would be 5/8, 8/8, and 10/8. These irregular meters are considered â€Å"shifting† when the time signatures rapidly change from measure to measure. If a regular meter (3/4, 4/4) appears during a string of irregular meters, the term â€Å"shifting irregular meters† still applies because the effect as a whole is a succession of changes between groups of 2 and 3 eighth notes. 1 53 Figure 2. 12: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm. 1-3 Figure 2. 13: Copland/Bernstein, El Salon Mexico for Two Pianos, Rhythmic notation, mm. 1-3 Figure 2. 14: Copland, El Salon Mexico, Rhythmic notation, mm. 1-5 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. As the previous examples illustrate, there were drastic changes in meter between the Piano Sketch and the final orchestral version. These kinds of alterations to meter occur throughout the orchestral version and are particularly prevalent during sections with faster tempi, which tend to be more rhythmic. In most cases, the meters are changed from shifting irregular meters to a more constant regular meter of 3/4 or 4/4. This forces rhythms that originally occurred on the beat to be played as syncopations. 32 Figure 2. 15: Copland, El Salon Mexico, mm. 124-128, Violin 1 Figure 2. 16: Copland, ARCO 28-A (Piano Sketch), Corresponding music Don’t waste time! Our writers will create an original "El Salon Mexico Copland" essay for you Create order