A large proportion of the music of American composer Paul Creston (1906 - 1985) included the word "dance" in the title either of the piece itself or of the movements, and there are numerous other pieces that similarly use the names of specific dances.

This suggests the importance of rhythm in the composer's music. Not only did he pay more attention to rhythm as the unifying and propelling device of his music, but his compositions nearly all exhibit episodes of strong, vigorous rhythm.

The Invocation and Dance is typical of this trait and of his penchant for using two-part forms where a faster part is preceded by a somewhat shorter introductory section. The composition, a single large symphonic movement of 14 minutes, was commissioned by the Louisville Orchestra as part of its innovative and long-term series to have new symphonic works written. That orchestra under Robert Whitney premiered the work, and immediately made a recording of it, which was released variously on the orchestra's own Louisville First Edition label and the U.S. Columbia Records label. It is one of the handful of Louisville commissions that has been re-recorded by the orchestra (Lawrence Leighton Smith conducting) and released on a First Edition CD and is also available on a Delos recording with Creston's pupil Gerard Schwarz conducting.

The style of the opening four or five minutes is declamatory, and in a rather serious, dark mood. When rhythm begins to make its appearance it is in the form of a four-note bass pattern. Variants of this pattern energize the remainder of the work, which is the dance.

The opening mood is rather threatening. While jazz elements are present in the music, this is not a jazz composition or one that seeks to recreate the sound of jazz. It is simply that American elements in the harmonies and some syncopated phrasing are part of the idea. However, jazz does contribute importantly to the form of the music. It tends to break into sections with a particular orchestral voice—often a solo instrument but sometimes a grouping form the orchestra—making a statement based on the opening declamatory material and on the bass line. This is similar to the basic shape of a jazz performance made of a series of choruses.

This form gives the listener a solid basis for comprehending the music. The dance becomes increasingly vigorous, though there are parts where the tension relaxed before tightening down again. The music remains predominantly dark-hued and driven, and drives to a strong conclusion.

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