What to Listen for in Music (Revised Edition) by Aaron Copland

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What to Listen for in Music (Revised Edition) Read Online Free - 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.

Title : What to Listen for in Music (Revised Edition)
Author :
Rating :
ISBN : 0451528670
Edition Language : English
Format Type : Paperback
Number of Pages : 266 pages


Jana rated it ★★★★☆

January 16, 2016

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,...

Jee rated it ★★★★☆

October 05, 2009

A basic and helpful introduction to music for someone like me, i.e., no music training beyond playing the pianica in primary school, and strumming the guitar round campfires in high school. In this book first written in the 1930s, Copland distinguishes between listening on a sensuous plane (mere...

Tony rated it ★★★★☆

February 15, 2017

WHAT TO LISTEN FOR IN MUSIC. (1939, rev. 1957). Aaron Copland. ***1/2. What better educator on classical music than Aaron Copland? 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. He did t...

Carol rated it ★★★☆☆

November 17, 2017

I found this book very interesting, and thought it said more about its author than its subject, at least for me. Copland provides explanations of and thoughts on all the main elements of and aspects of music: melody, rhythm, harmony, and formal structure, plus some additional special topics like...

Alex rated it ★★★★☆

May 01, 2014

Copland logró escribir un libro muy ilustrador y accesible, apto tanto para personas con formación musical como para nosotros los "legos". Es corto, ameno y lleno de información muy educativa para los que queremos aprender más sobre música académica o "culta" (el término es bastante problemático...

Martin rated it ★★★★★

August 14, 2013

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...

Tara rated it ★★☆☆☆

March 16, 2016

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 wo...

Matteo rated it ★★★☆☆

February 19, 2018

While this book may clarify musical forms in the way an "Introduction to Music Appreciation" lecture might, its chapters on "Contemporary Music" (c. 1939) and "Film Music" are so short as to be meaningless, and even if they were more expansive, they have not aged well.

Kristin rated it ★★☆☆☆

January 07, 2013

2.5/5 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...

Timothy rated it ★★★★☆

October 05, 2012

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 emot...

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