Aaron Copland
Paperback | Pages: 266 pages Rating: 3.93 | 7340 Users | 187 Reviews
List Based On Books What to Listen for in Music
| Title | : | What to Listen for in Music |
| Author | : | Aaron Copland |
| Book Format | : | Paperback |
| Book Edition | : | Deluxe Edition |
| Pages | : | Pages: 266 pages |
| Published | : | November 5th 2002 by Signet Classics (first published 1939) |
| Categories | : | Music. Nonfiction. Art |
Representaion To Books What to Listen for in Music
In this fascinating analysis of how to listen to music intelligently, Aaron Copland raises two basic questions: Are you hearing everything that is going on? Are you really being sensitive to it? If you cannot answer yes to both questions, you owe it to yourself to read this book. Whether you listen to Mozart or Duke Ellington, Aaron Copland's provocative suggestions for listening to music from his point of view will bring you a deeper appreciation of the most rewarding of all art forms.Specify Books In Pursuance Of What to Listen for in Music
| Original Title: | What to Listen for in Music |
| ISBN: | 0451528670 (ISBN13: 9780451528674) |
| Edition Language: | English |
Rating Based On Books What to Listen for in Music
Ratings: 3.93 From 7340 Users | 187 ReviewsCriticize Based On Books What to Listen for in Music
I enjoyed reading it. I felt that it improved my understanding of classical form considerably although my lack of musical knowledge made some chapters difficult. I have been reading it in conjunction with Bernstein and a variety of Youtube clips. I think it's a book I shall return to on occasion to deepen my understanding. I've already gained immensely in the area of early 20th century works and am looking forward to extending my listening range.It has also reinforced my interest in the period2.5/5 stars. Full disclosure: I am a professionally trained musician (bachelor and master's degrees in composition, double bassist for more than fifteen years), so I realize this book isn't really intended for a person like me. But from a historical standpoint, I do appreciate this set of lessons. Through most of it, it was a nice little refresher for me. Everything is educational from a technical standpoint, and it was interesting to read a composition giant's musings, however opinionated and
Copland takes a fascinating topic and manages to make it seem tedious. Fraught with elitist overtones, this book takes on the tone of a lecture by an academic long past the prime of his tenure. Classical music is fascinating, a joy, a thrilling adventure. In Copland's hands it feels as if was left too long in a dehydrator.
Standard issue for Freshman majors (or it least it was once upon a time) "What to Listen for..." runs the traditional wire between genuine approachability, and the deeper, music-nerd-driven understanding of music, composition, form, and the artist's own context.Although this is not quite the emotional trip as "Joy of Music" by Bernstein, it is the affections of a master laid in front of those of us who are interested. Highly recommended as a first read for the concert-goer, the enthusiast, the
This is a fantastic book for the layperson who wants to become a more intelligent listener and who wants to understand more of what is going on in classical music (note: all classical music, not just the Classical period). Copland begins with an explanation of what music is and how it functions, moves to instruments, then to forms, adds an apologist chapter for contemporary music, and finishes with a chapter of what it means to be a good listener and the very significant role listeners play in
This book is cut up by a damaging assumption: classical music is difficult. Popular music is easy. Therefore elitism reduces the usefulness of this book.The best components of the book probe the four essential elements to music: rhythm, melody, harmony and tone colour. Besides that - it is not worth reading.
A good, solid guide for the lay person hoping to better understand classical music. Some of the musical vocabulary he expects non-musicians to know is probably beyond what your average person today is familiar with, but it gives a great introduction to the different elements and forms found in classical music, as well as a few interesting chapters on contemporary and film music from a composers perspective. If you havent had much musical training and wish to be able to listen to classical music
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