How does one create a folk sound without folk music?
Considering our recent discussion in class about Béla Bartók’s use of folk music for foundational material in many of his works, I figured some works by Aaron Copland could provide an interesting comparison, while also taking into consideration the ‘Americanized version’ of folk music’s influence. Aaron Copland composed Appalachian Spring as a ballet with chamber orchestra accompaniment on commission from the Elizabeth Sprague Coolidge foundation in collaboration with the Martha Graham Dance Company. It was originally completed in 1944, however various reorchestrations and settings were completed in the following decades, including the suite for full orchestra completed in Spring of 1945. Having been involved in WWII since December of 1941, it is likely that this was appealing to American crowds as a return to simplicity, often heard through arguably the most famous melody from the piece, “Simple Gifts”.
To give a brief historical account, Appalachian Spring is set in the early 19th Century in Pennsylvania, telling the story of a young farming couple and their reflections of life’s meaning before marriage. As a spoiler to the ballet’s story, the seventh of eight movements (or fourteen if following the 1944 ballet) is where “Simple Gifts” is introduced (by the clarinet). The purpose of placing this theme so late in the piece was likely to show that though life in marriage and in general does not always move along smoothly, it is important to reflect and be thankful for what you do have. The original tune is usually attributed to Joseph Brackett (1797–1882), a Shaker Elder who was the first to write it down, if not compose it altogether. Program notes from the New York Philharmonic’s October 1945 performance of Copland’s Appalachian Spring (orchestral suite edition) can be viewed here.
While looking for materials to examine regarding Appalachian Spring, I stumbled across a small notebook Copland used to write a few ideas on how the piece would be presented (shown below). In this manuscript, Copland writes something very odd considering his use of “Simple Gifts” within the piece. He writes, “The folk feeling — without folk themes. Shaker Tune. Manner of Folk Material (hymn at end).” Though “Simple Gifts” is technically a Shaker hymn, I believe many would agree that in this context, it comes across as a folk-like theme. That sparked an interesting question: how would one (or could one) compose in a folk style without using folk themes? (Not that this actually happened in Copland’s ballet, but more as a figure of possibility.)
I would argue that there are a few fundamental paradigms found throughout my knowledge of folk music. Admittedly this does not take into consideration the *vast* majority of folk music out there, but many of these songs can be characterized as simple-structured (verses and choruses); easily transmittable (simple melodic structure); and most importantly, relevant to the composing culture’s experience of life, such as you would likely hear folk songs about fishing if the culture lives on the water, etc. I would like to believe Copland chose “Simple Gifts” not only to represent the lifestyle attributed to rural farming communities, but also to remind the American public, after experiencing four years of WWII, that there is a kind of serenity in accepting what has happened and being thankful for what life you still have in front of you.
Is there a functional role of folk music when considering a piece of music as an emotional setting? I would argue, yes. Looking back to my own experience with folk music, I can recall times when my uncle (fiddler / orchestra teacher in NW Maine), my grandfather (born in Nova Scotia, immigrated to the US in 1949), and my great uncles (also immigrated to the US around the same time period) would gather together on holidays and play Acadian folk songs that they grew up with. Whereas I was just a child, knowing next to nothing about Acadian culture, my family history, or their upbringing, I could see the happiness it brought to everyone listening. To summarize, the music from their childhood and upbringing still caused the same emotional response due to its sentimental nature.
Although I would hardly dictate this personal anecdote as a similar circumstance when compared to Copland’s Appalachian Spring, I believe there is a heartfelt nature when examining any kind of folk music, and although it may be a series of notes and rhythms to one ear (likely how our Western-trained ears would react to the source material Bartók used), the variety of emotions and memories triggered by its sound could surely be seen as musical inspiration. In this sense, I can sympathize with and understand why Bartók used Transylvanian folk music as foundational material from his homeland; regardless if attributed to Romania or what he so firmly believes is Hungarian in nature.
#Mus533
