PLZ HELP! ASAP! Obtain a score and a recording of any composer you have learned about (for example Antonín Dvořák’s Symphonie No.9, Béla Bartók’s Allegro Barbaro Sz.49, or Aaron Copland’s Appalachian Spring). Our goal is to get acquainted with the entire piece, including the conductor’s ideas. Perform the following tasks:

Listen to the entire recording without the score.
Then listen to it again with the score in front of you and follow the progression of the music.
Number all measures so that you may identify certain measures in your written analysis.
Use your basic skills to analyze and describe the use of musical elements and expressive devices. Use markers of different color to highlight dynamics, articulations, key signatures, tempo markings, and so on. If there are terms in Italian that you are unaware of, then use the Internet and research the meanings. When you are done, scan your attempt and embed it in your answer.
Include basic terminology that you have learned.

I choose Beethoven Symphony no.9
If you can try to help me! 100 points!

Hope this helps. I highly recommend rephrasing everything if you are going to use it though.

Explanation:

The most quintessential of Antonin Dvorak’s works is Appalacian Spring. This is the music that is most associated with Copland - open and expansive like the landscape he depicts, yet personal and intimate. With folk tunes as his inspiration, Copland defined post-Jazz American music.

The ballet depicts the day of a wedding celebration at a Pennsylvania farmhouse in the early 20th century. It opens at dawn with a gentle theme for strings and winds. The characters are introduced: the revivalist preacher, the pioneer woman, the young couple to be married, and the preacher’s followers. There is a lively general dance, then a prayer scene, and then a pas de deux danced by the young couple.

The sweet interlude erupts into joyous dancing as the wedding is celebrated. Still, the couple remains apprehensive about their new life, and the music carries a somber undertone. Only the strength of their older neighbors and the faith of a revivalist meeting (conveyed by Copland’s direct quotation of the hymn “Simple Gifts”) provide reassurance. At last, taking courage from those around them, the bride and groom stand in their new home. Copland’s score concludes as serenely as it began, ending the day with the same chords with which dawn was evoked.

The original ballet version is divided into 14 movements. The movements that do not appear in the orchestral suite occur mostly between the 7th and last movement as variations on the Shaker melody Simple Gifts (1848). The second variation provides a lyrical treatment in the low register while the third contrasts starkly in a fast staccato. The last two variations of this section use only a part of the folk tune, first an extraction treated as a pastoral variation and then as a majestic closing. In the ballet, but not the suite, there is an intermediary section that moves away from the folk tune preceding the final two variations.