World War II spanned the years of 1939-1945 and made a substantial impact on the dance world. In finding sources to apply towards researching World War II’s influence on Appalachian Spring (1944), I immediately went to YouTube. The iconic film of Appalachian Spring is a great tool to use when looking at the choreography, set, costumes, and musical score. The set, designed by Isamu Noguchi (1904-1988) is very simple, but is highlighted by it’s functionality of one side of an exterior wall, a bench, fencing, a wooden chair, and a slanted boulder in the yard (Aloff 26). Martha Graham (1894-1991) whose choreography in this particular piece is very pedestrian, meant to simulate a very common American tale. Similarly, the costumes kept to the particular
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The Bride performs several dance monologues anticipating the future” (Aloff 25). The theory behind Martha Graham’s choreography and how World War II influenced it is constituted by the positive foreshadowing of America’s future. The dance film of Appalachian Spring features the set which reveal to be so charming yet frightening in its practicality. The set represents the comfort of the newlywed’s life together and at the same time, the discomforts of they might face. Likewise, the set can be related to America’s economic and cultural state after the war ends. Appalachian Spring, as it is known for its jubilance in dance, is equally known for its jubilance in musicality. Aaron Copland, is a unique influence on Appalachian Spring in that he composed one of the greatest American scores from the viewpoint of a jewish immigrant. Copland’s score, although composed before the choreography was set, went hand in hand with the choreography and feeling of each section within the piece. For instance, the first Allegro of Appalachian Spring titled, “Eden Valley” acquires the use of harmonic progressions. Copland describes the Allegro as, “excited, breathless children trying to tell a single story but continually interrupting each other while doing so. The listener hears multiple tellings of the same story” (Kleppinger 53). The effects of World War II on Copland was monumental and inspiring, especially because of his Jewish descent. Finding a home in America, a free country with a plethora of possibilities and opportunities, is a driving force behind the exuberance and optimism of Appalachian Spring’s melodies, harmonies, rhythm, and overall
The Bride performs several dance monologues anticipating the future” (Aloff 25). The theory behind Martha Graham’s choreography and how World War II influenced it is constituted by the positive foreshadowing of America’s future. The dance film of Appalachian Spring features the set which reveal to be so charming yet frightening in its practicality. The set represents the comfort of the newlywed’s life together and at the same time, the discomforts of they might face. Likewise, the set can be related to America’s economic and cultural state after the war ends. Appalachian Spring, as it is known for its jubilance in dance, is equally known for its jubilance in musicality. Aaron Copland, is a unique influence on Appalachian Spring in that he composed one of the greatest American scores from the viewpoint of a jewish immigrant. Copland’s score, although composed before the choreography was set, went hand in hand with the choreography and feeling of each section within the piece. For instance, the first Allegro of Appalachian Spring titled, “Eden Valley” acquires the use of harmonic progressions. Copland describes the Allegro as, “excited, breathless children trying to tell a single story but continually interrupting each other while doing so. The listener hears multiple tellings of the same story” (Kleppinger 53). The effects of World War II on Copland was monumental and inspiring, especially because of his Jewish descent. Finding a home in America, a free country with a plethora of possibilities and opportunities, is a driving force behind the exuberance and optimism of Appalachian Spring’s melodies, harmonies, rhythm, and overall