This composer argued that imagination is the defining trait of a “gifted listener” in the first of the Norton Lectures he published (-5[1])as Music (-5[1])and Imagination. This composer used a 10-tone row, reserving the other two pitches for cadences, (10[1])in a half-hour long, one-movement Piano (-5[1])Fantasy. (10[1])This composer distinguished “expressive,” “sensuous,” and “sheerly musical” planes of experience in What to Listen For (-5[1])in Music. (10[4]-5[1])A visit to a “popular (10[1])type dance hall” (10[1])with his friend (10[2])Carlos Chavez (10[3])inspired an (10[1])orchestral (10[2])work (10[1])by this composer (10[2])that quotes (-5[1])folk songs (-5[1])like (10[2])“El (10[1])Palo (-5[1])Verde,” (10[1]-5[1])titled (10[1])El (10[1])Salón (10[1])México. (10[11])A piece that this composer (10[1])originally titled “Ballet for Martha” (10[1])concludes with the Shaker (10[3])hymn “Simple (10[3])Gifts.” (10[12]-5[1])For (10[1])10 points, (10[3])name this populist American composer of Appalachian (10[1])Spring. (10[2])■END■ (10[9])