Editing Aaron Copland (section)

=== Early works ===
Copland's compositions before leaving for Paris were mainly short works for piano and [[art song]]s, inspired by Liszt and Debussy. In them, he experimented with ambiguous beginnings and endings, rapid key changes, and the frequent use of tritones.{{sfn|Pollack|1999|p=41}} His first published work, ''[[The Cat and the Mouse]]''&nbsp;(1920), was a piece for piano solo based on the [[Jean de La Fontaine]] fable "[[The Old Cat and the Young Mouse]]".{{sfn|Smith|1953|p=51}} In ''Three Moods'' (1921), Copland's final movement is entitled "Jazzy", which he noted "is based on two jazz melodies and ought to make the old professors sit up and take notice".{{sfn|Pollack|1999|p=44}}

The [[Symphony for Organ and Orchestra (Copland)|Symphony for Organ and Orchestra]] established Copland as a serious modern composer. Musicologist Gayle Murchison cites Copland's use melodic, harmonic and rhythmic elements endemic in jazz, which he would also use in his ''Music for the Theater'' and [[Piano Concerto (Copland)|Piano Concerto]] to evoke an essentially "American" sound.{{sfn|Murchison|2012|pp=48–54}} he fuses these qualities with modernist elements such as octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint.{{sfn|Murchison|2012|pp=48–54}} Murchinson points out the influence of Igor Stravinsky in the work's nervous, driving rhythms and some of its harmonic language.{{sfn|Murchison|2012|pp=48–54}} Copland in hindsight found the work too "European" as he consciously sought a more consciously American idiom to evoke in his future work.{{sfn|Pollack|1999|p=128}}

Visits to Europe in 1926 and 1927 brought him into contact with the most recent developments there, including Webern's Five Pieces for Orchestra, which greatly impressed him. In August 1927, while staying in Königstein, Copland wrote ''Poet's Song'', a setting of a text by [[E. E. Cummings]] and his first composition using Schoenberg's twelve-tone technique. This was followed by the ''Symphonic Ode'' (1929) and the [[Piano Variations (Copland)|Piano Variations]] (1930), both of which rely on the exhaustive development of a single short motif. This procedure, which provided Copland with more formal flexibility and a greater emotional range than in his earlier music, is similar to Schoenberg's idea of "continuous variation" and, according to Copland's own admission, was influenced by the twelve-tone method, though neither work actually uses a twelve-tone row.{{sfn|Pollack|1999|pp=68, 138, 147}}

The other major work of Copland's first period is the ''[[Short Symphony]]'' (1933). In it, music critic and musicologist [[Michael Steinberg (music critic)|Michael Steinberg]] writes, the "jazz-influenced dislocations of meter that are so characteristic of Copland's music of the 1920s are more prevalent than ever".{{sfn|Steinberg|1998|p=131}} Compared to the ''Symphonic Ode'', the orchestration is much leaner and the composition itself more concentrated.{{sfn|Steinberg|1998|p=131}} In its combination and refinement of modernist and jazz elements, Steinberg calls the ''Short Symphony'' "a remarkable synthesis of the learned and the vernacular, and thus, in all its brevity [the work last just 15 minutes], a singularly 'complete' representation of its composer".{{sfn|Steinberg|1998|p=133}} However, Copland moved from this work toward more accessible works and folk sources.