| Aaron Copland, Appalachian Spring, Excerpt with Variations on Tis the Gift to Be Simple |
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| Copland ballet that incorporated the shaker hymn “Simple Gifts.” An example of American folk tunes. |
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| William Grant Still, Afro-American Symphony, First Movement |
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| Still’s symphony in sonata form that incorporated blues rhythm, spiritual melody, and call and response. |
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| Oliver Messiaen, Quartet for the End of Time, First Movement(Liturgie de Cryistal) |
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| Messiaen’s quartet that used color and talea(repeated musical patterns). Represents the progression of time in the sense of creation. Composed and performed in concentration camp. |
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| Benjamin Britten, Peter Grimes, from Act III, scene 2, “To hell with all your mercy!” |
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| Britten’s opera that shows his social activism. Uses bitonality |
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| John Cage, Sonatas and Interludes, Sonata V |
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| Cage’s suite for prepared piano written in square root form. Objects are inserted into the piano in order to create percussive sounds. Challenges the idea of notation and pitch. |
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| Morton Feldman, Projection I |
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| Feldman’s solo for cello that uses a “graphic score” and exercises the idea of indeterminate music. |
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| Milton Babbitt, Philomel, Section I |
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| Babbit’s vocal piece for soprano, recorded soprano, and synthesized sound. Based on story of Ovid and uses word painting. |
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| John Adams, Short Ride in a Fast Machine |
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| Adams minimalist orchestral fanfare that incorporates frequent, slight changes in rhythm, instrumentation, or harmony create a sense of constant evolution |
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| Michael Daugherty, Dead Elvis |
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| Daugherty’s work for solo bassoon and chamber ensemble that payed tribute to Elvis. Incorporated modernist ideas with popular music. |
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