Adam Miller

MUED 373 – Dabback

Literature Review – El Salon Mexico
Analysis

• FORM

o The piece is divided into 6 main sections indicated by tempo changes

§ Allegro Vivace – mm. 1

§ Moderato rubato – box 2

§ Allegro vivace – box 11

§ Moderato molto – box 19

§ Piu mosso – box 22

§ Coda section – box 37

• MELODY & RHYTHM

o Melodic ideas, as stated in the Historical/Cultural Context section, are developed from

other Mexican compositions by Campos and Toor. Copland studied their compositions

and developed motifs based on their melodic construction

o Use of syncopations throughout the work lend to stylistic* aspects

o Groupings of 8th notes before BOX 7 also help with stylistic aspect of the piece (3s and

2s; 6/8 vs. 3/4)

o Complex mixed meter in middle and ending Allegro vivace sections

• STYLE

o The style of this piece is to embody a Mexican dance hall, especially in the Allegro

vivace sections, and the Coda at the end.

o Copland achieves these stylistic ideas by incorporating specific melodic/rhythmic ideas

(above) and is very specific about articulations (accents vs. staccatos)

o The end is basically like a massive fiesta in a Mexican salon/dance hall

Source:
Charlton, A. (2009). Copland - El Salon Mexico. Classroom Music - North BSR, 1-19. Retrieved
April 4, 2019.
 Adam Miller
MUED 373 – Dabback
Literature Review – El Salon Mexico
o

Historical/Cultural Context

Aaron Copland was an American composer, who was born in 1900 and died in 1990. He was

born in New York and became a pianist and music theorist until 1921 when he moved to Paris to study

composition with Nadia Boulanger. He studied in Paris for three years and was heavily influenced by

popular European musicians at the time, such as Stravinsky and Bartok. He moved back to the United

States in 1924 and began to develop his own personal style based on his European and American (jazz)

influences. Copland’s works included, but were not limited to, piano works, operas, chamber music, and

film scores.

El Salon Mexico was written in 1936. It was born out of a trip that Copland took to Mexico in

1932, to visit his friend and famous conductor/composer Carlos Chavez. While in Mexico, Copland

visited (guess what) a salon which he described as a “Harlem-type nightclub”. This experience with

Mexican culture stuck with him, and made him think about what he has just gone through. He was

intrigued and inspired by the spirit and culture of the dance hall that he decided to write a piece about it,

and name it after the place he had been to. El Salon Mexico was composed using melodies from popular

Mexican composers such as Campos, Toor, and Chavez himself. The work was finally completed in

1936, and was premiered in Mexico a year later by the Orquesta Sinfonica de Mexico, conducted by

Aaron Copland’s friend, Carlos Chavez.

Sources Cited:

Charlton, A. (2009). Copland - El Salon Mexico. Classroom Music - North BSR, 1-19. Retrieved
April 4, 2019.
 Adam Miller
MUED 373 – Dabback
Literature Review – El Salon Mexico
Longitudinal Objectives

1. Students will understand Mexican cultural influences in music

2. Students will play in complex mixed meter

3. Students will effectively execute and understand the style of this piece, including style

changes

4. Students will demonstrate understanding and execution of a variety of articulations

5. Students will analyze the score of the piece and identify concepts that my lead to the Mexican

“sound” and use these concepts to compose their own Mexican fiesta tune

Framework/Standards

Explicitly state how your objectives relate to a set of standards, e.g. National Core Arts Standards, SOL’s,

etc.

• National Core Arts Standards Addressed

o Anchor Standard #3- Refine and complete artistic work

o Anchor Standard #4- Select, analyze, and interpret artistic work for presentation

o Anchor Standard #11- Relate artistic ideas and works with societal, cultural, and

historical context to deepen understanding

• Virginia SOLs Addressed

o HIAD.15 The student will demonstrate the use of articulations, dynamic contrasts,

phrasing, various tempos, and tempo changes as means of expression

o HIAD.20 The student will explore historical and cultural aspects of music by;

1. analyzing the cultures, musical styles, composers, and historical periods

associated with the music literature being studied