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What to Listen for in Music, by Aaron Copland
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Now in trade paperback: ?The definitive guide to musical enjoyment? (Forum).
In this fascinating analysis of how to listen to both contemporary and classical music analytically, eminent American composer Aaron Copland offers provocative suggestions that will bring readers a deeper appreciation of the most viscerally rewarding of all art forms.
- Sales Rank: #453004 in Books
- Published on: 2009-03-03
- Released on: 2009-03-03
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .67" w x 5.35" l, .58 pounds
- Binding: Paperback
- 320 pages
From Library Journal
This is a reprint of the enormously popular 1957 edition of Copland's guide to music. There is no new text by Copland, only a new introduction by composer William Schuman, which is more an encomium to the "Dean of American Music." In large measure, the book owes its success to its simple, jargon-free language and engaging style. One wishes, though, that Copland might have added an assessment of the musical scene of the past 30 years. The bibliography has not been updated and is thus virtually useless, with the most recent entry 1955. Nonetheless, the book remains an excellent guide for the novice. Larry Lipkis, Moravian Coll., Bethlehem, Pa.
Copyright 1988 Reed Business Information, Inc.
Review
aOne of the most helpful, sensible, and enjoyable discourses on the subject ever published.a
a"Victor Record Review"
aBy far the best thing of its kind yet to appear.a
a"Modern Music"
?One of the most helpful, sensible, and enjoyable discourses on the subject ever published.?
?"Victor Record Review"
?By far the best thing of its kind yet to appear.?
?"Modern Music"
About the Author
Aaron Copland’s well-known and highly regarded compositions, performed and recorded extensively throughout the world, include the Pulitzer Prize–winning ballet Appalachian Spring, as well as Billy the Kid, Rodeo, Lincoln Portrait, and the film scores of Our Town and The Heiress. On being awarded a Congressional Gold Medal in 1986, Copland was praised for his “uniquely American music that reflects the very soul and experience of our people.” During his career, Copland taught composition at Harvard and the Berkshire Music Center, lectured all over the United States, and wrote Our New Music and Music and Imagination. He died in 1990.
Most helpful customer reviews
2 of 2 people found the following review helpful.
A fun, informative treatise on music from a great American composer
By kikeo58
Aaron Copeland is, of course, one of the greatest American composers. His input about music is scholarly and welcome. He does not lose a layman in technical jargon, music notation, or advanced music theory. For that I am grateful. The book introduces music and its structures in a steady progression. In the end I became lost. But I hung in there until the end. I think the subject really does need a format like Bernstein's Young People's Concerts where you hear a sample of the items they are discussing. But, for a book, this one is pretty good. I especially like the section
where he discusses composition using the varied characteristics of the orchestra.
1 of 1 people found the following review helpful.
Great advice from a great composer
By Ismael de Leon H.
I am surprised it took me so long to discover this book, as it is so well written and so useful for better understanding the ways to enjoy concert music. I really did not know Copland was so articulate and good at writing. I can perceive a successful effort on his part in order to clearly explain something as abstract as music.
This is not a book that will provide the reader with all that is needed to completely own this art form. However, it is a book that should be read by anyone that intends to grasp more enjoyment out of serious concert music. His point of view on many aspects of the music appreciation practice are very valuable. Throughout his discussion, he manages to present many useful tips that help the reader to better concentrate on what is important on any piece.
In his book, Copland mentions many examples of pieces to make his point, and I guess one has to be familiar with those works in order to get it. However, here and there I found mentions of examples for which I am not familiar with, and even then, I could very well understand what he was trying to say.
He does not assume that the reader is very knowledgeable about music and at the same time, he does not write as if the reader was stupid, as some of the books from the series “…For Dummies” series do.
I highly recommend this book to better learn about appreciating music from the humble words of a great composer who is caring enough to make his reading enjoyable.
3 of 3 people found the following review helpful.
Wonderful for Those Who Don't Know Much About Music, and Want to Learn
By Anne Mills
This is a TERRIFIC book about music for music laypeople -- those of us who love music but don't know much about it, who want to learn more in order to enjoy it more. There is lots and lots written about music history, what composer wrote when and who influenced whom. But there isn't that much that I have found about the music itself which really helps me understand what is going on in a particular piece.
Copland does this, by taking the reader through the building blocks of music. He starts with what he calls the four elements: rhythm, melody, harmony and tone color, Then he proceeds to musical texture, to musical structure, and then to five fundamental forms: sectional, variational, fugal, sonata, and free. After this, he concludes with brief surveys of opera, film music, and what was then contemporary serious music. Each chapter is followed with a list of suggested pieces of music to listen to.
The book's advanced age has remarkably little impact on its usefulness, except for the fact that the "listening lists" refer to old recordings. The book first appeared in 1939 and was revised in 1957; the Signet edition that I read has a short chapter on music since Copland. Copland was a teacher of music as well as a composer, and it shows -- I would love to take a class for which this was the text.
This book does, however, demand lots of effort, and lots of listening, at least for us "I don't know much about music, but I know what I like" types. What Copland wants the listener to do is go beyond pure sensuous enjoyment and use his or her brain to follow the music as it unfolds -- to listen, not just hear. Doing this requires listening again and again to pieces he discusses.
Like some other reviewers, I wish very much that some kind person would put out a CD (or set up a website) with the specific passages Copland cites, as well as his broader listening list. Even without this, however, I have learned a great deal from this book. I expect to learn more, since I will be reading again and again as I listen.
I doubt that the book would be nearly so useful to people who already know a lot about how music works, but for the groundlings, Copland's book is masterful
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