Aaron Copland, in his article The Creative Proces of Music gives his

Personal view of how, when, and why a composer writes music of its own. How he feels and
what is in his mind while in the state of composing. Copland curiosities that most people find
intriguing and interesting in relation to composers creative process
Three questions arise in this article and these are (a) question of inspiration
(b) writing or not writing at the piano, and (c) what and where does the composer begin with.
Question of inspiration- According to copland , inspiration is not a part of creative process. It is
only a by product that can help a composer to set himself or not to be in the mood of writing. A
composer. He added, can compose any time, any day, and not turn out some product of his
creativeness, no matter how emotionally disturbed he is. Composing for him is like one fulfilling
a natural function. It is true to anybody that today would not be like yesterday, or in terms of
composition, one will not be as good as the other. I agree with Mr. Copland. In my own
experience, I do not need to be sad in order to write a sad music. Writing with inspiration does
not guarantee to produce great music. Although, it would be nice for me to compose while
inspired. Reimer, in addition, seems coincide with Copland also.
Writing or not writing at the piano is not so important to Aaron Copland. What is important to
him is how the method works. He says that the way in which a composer writes is a matter of
personal preference. It is not the question if one uses piano or not, it is the result or the final
product that counts. Again, I agree with him although I always compose at the piano unless I am
writing atonal music.
The third question is very significant in relation to creative process in music. What does the
composer starts with and where does he begin? Mr. Copland answer is A Musical Idea. It
seems easy to understand what a musical idea is. To him, a musical is synonymous with theme.
He uses this theme in a broader way. A Musical idea could be melody (Theme), Rhythm, figures,
or other aspects that could be turn into a music. I disagree with his statements that a theme is a
gift from God, that composer has no control over it and does not know where the melody
comes from. It is true that most composers, in fact a great composer like Beethoven for
instance, did not just walk and wait for the melody to come out. God gives us the talent and the
creative power to be able to think wisely and to be able to create like him. God gives us the
intellect and reasoning power to guide us from our destiny, to tell us what is wrong and what is
right. This intellect or reasoning power or even talent is the one that create the theme. It is the
god that give the intellect to help man in creating such thing.
Copland categorizes composers into four types. These are: (a) The spontaneously inspired
composer, (b) The constructive composer, (c) The traditionalist composer, and (d) The
pioneer composer
Spontaneously inspired composer are those whose music simply wells out of them. They are
prolific in nature. Music or musical idea just come out from their own minds in a very natural
way, probable instinctively.
The constructive composer, on the other hand, are those who begin with musical idea or theme
and develop it, until they construct a musical work that will please them. Creativity is obviously
one of their process.
Traditionalist composers are those who are born in particular period and style of musical
history, where they excel or and surpass fellow contemporaries. They begin with a pattern
rather than a theme. Pioneer composers are the way around. They approach is just the
opposite of traditionalist. They are after new and innovative results, such as new harmonies,
new sonorities and new idioms.
Of all four, the constructive type is the coplands ideal composer. Composer for him
should have musical idea, with understanding and conception, and must have the ability to
develop and elongate it, and put it together to make it a work of art.

Motive development
Motive- a small unit which is developed in a significant way in a musical composition. A Motive
may consist of an interval (Two notes), or several notes, or it may be a rhythmic patter.

First theme
Allegro con brio ( 1st Movement)

Motive
Motive
Second Theme

Motive

3rd Movement
Allegro

Composers use or develop motives for the purpose of achieving continuity in a musical work.
They achieve a a balance between unity and variety through the development of motives.
Developmental techniques (known to me) which have involved over seveal centuries include:
1.Repetition- Creates the higest degree of unity of all the developmental devices.

Sonata in Bb major K333

2. Sequence- an immediate restatement in the same voices of a musical ideas at a different pitch
level.
PHANTASIE , K.475, Adagio Mozart

3. Inversion- Intervals move in the direction opposite. Intervals retain their general type (2nd, 3rd
4th etc.) but their specific type ( Major or minor) Depending upon harmonic progressions.

PHANTASIE K.475 ADAGIO MOZART

4. Retrograde- Indicates reverse or backward motion (beginning with the last note of a melody
and ending with the first) Sometimes called Crabmotion.

ORIGINAL RETROGRADE
5. Expansion or Contraction of an interval- Certain intervals are expanded and others contracted.

PHANTASIE K.475

6. Diminution or Augmentation. In Diminution, a musical idea is presented in smaller note values

than those appearing in the original. In Augmentation a musical idea is presented in larger note
values than those appearing in the original.

7. Rhythmic Metamorphosis- Rhythm is altered. The note values are not uniformly increased or
decreased.

Symphony no.1 Beethoven

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