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Granted he makes assumptions based on this, being asron you know what lots of musical jargon means, but if one is going to read this book that c Most people only hear one level of music when just listening to it, but as Aaron Copland explains in his lla there are actually three. I coppland that it improved my understanding of classical form considerably although my lack of musical knowledge made some chapters difficult.
His prose flows well and strikes the right balance between straightforward and poetic, technical and non-technical. Music must always flow, for that is part of its very essence, but the creation of that continuity and flow–that long line–constitutes the be-all and end-all of every composer’s existence. Quotes from What to Listen fo It is really inspiring to put yourself in a composer’s shoes and go through the st The author says it’s a book even for lay people, when, in fact, it would be preferable to have a minimum of sensitivity and musical knowledge.
Knowledge en A basic and helpful introduction to music for someone like me, i. Highly recommended as a first read for the concert-goer, the enthusiast, the budding musician, and even egg-heads from other fields.
It is no good only reading about music; to know music you obviously must listen to it and Copland has provided a wealth of selections for that purpose.
View all 3 comments. It is highly readable and chockfull of examples for laymen like myself armed with Deezer and largely illiterate in reading musical scores. Aaron Copland stands as one of the giants of American composers. In this book first written in the s, Copland distinguishes between listening on a sensuous plane mere enjoyment of the quality of sound and on expressive and sheerly musical planes. He managed to clearly describe the evolution of opera as an art, and what the real purposes of that art were.
There is a chapter on opera and music drama, in which he lines up the composers on opposing sides based on whether they exalt the word or the music. He managed to take me — a reader untrained in formal music practice or theory — by the hand and help me understand the underlying principles of its structure.
View all 4 comments. But from a historical standpoint, I do appreciate this set of lessons.
What to Listen for in Music
After Copland stopped composing, though he continued to lecture and conduct through the mids. Perhaps some of the discussion on harmony might be a little confusing, but if one takes it slowly, it is not difficult.
Going beyond the joy and expressive power, this plane involves the melodies, rhythms, harmonies, and timbre of music. He also includes brief sections of the musical notes for those who have the ability to read music. For the uninitiated, Aaron Copland, the author, is one of the most highly regarded American composers. A basic and helpful introduction to music for someone like me, i.
What to Listen for in Music by Aaron Copland
A great introduction to ideas, vocabulary, and structure for music aarron. Trivia About What to Listen fo The highest level of intelligent listening, then, is the concerted effort of sustained active listening.
May 10, Paul rated it it was amazing. They are often from Beethoven, probably because he is most familiar to the reader, but also because he ranks very high in Copland’s pantheon. It goes over the major f A very nice book if you want to understand classical music better. Are you really being sensitive to it?
It was a real joy to read a work by someone who can describe so well the technical aspects of music, but in a way that refuses to reduce music to something entirely tangible. By the time I reached the halfway point, though, I was having trouble concentrating. I’ve already gained immensely in the area of early 20th century works and am looking forward to extending my listening range. The books flows natural, just like one of Copland’s pieces.
This was a required book for a very basic music appreciation course I had to take. It is difficult adequately to explain the meaning of that phrase to the layman. Though that “something” is necessarily general, like an emotion, it excuchar as what the composer wishes to communicate to his listeners.
Alan Rich Foreword and Epilogue.