Status
Available
Call number
Collection
Publication
Mentor / New American Library (1963), Edition: Revised, Mass Market Paperback, 192 pages
Description
'One of the most helpful, sensible, and enjoyable discourses on the subject ever published.'-Victor Record ReviewIn this superb 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. This classic work, the only book of its kind written by an eminent American composer, features- Chapters on contemporary music and film music Recommended recordings for each chapter A selected list of books for further reading and reference In this edition, leading music critic Alan Rich continues Copland's discussion of contemporary music for today's listeners and traces the composer's success in bringing music lovers 'closer to the magical mysteries of the music we can hear and want to hear better.' 'By far the best thing of its kind yet to appear.'-Modern MusicWith a Foreword and Epilogue by Alan Rich and a New Appreciation by Leonard Slatkin… (more)
User reviews
LibraryThing member stevenschmitt
I think it was Frank Zappa who said, “Writing about music is like dancing about architecture.” Well, assuming this to be true, I’d have to say this is about as good a dance as one could expect to see. If anything, it is helpful in expressing the importance of really listening to music in
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hopes that modern music doesn’t deteriorate to the point of being little more than the content that goes behind the movies we watch. Show Less
LibraryThing member baswood
According to Copland listening to classical music should not be a casual affair; one needs some knowledge of form certainly, but what is most important is that the listening should be an active experience. Aaron Copland makes this point time and time again:
“No listener can afford to ignore this
“Chapter 1 began with the premise that it is essential in learning to listen more intelligently, to hear a great deal of music over and over again and no amount of reading could possibly replace the listening.”
“The key to understanding contemporary music is repeated listenings”
“Take seriously your responsibilities as a listener…………….Music can only be really alive when there are listeners who are really alive. To listen intently, to listen consciously, to listen with ones whole intelligence is the least we can do in the furtherance of an art that is one of the glories of mankind”
Copland sets out to provide the listener with the tools to hear exactly what is going on in a piece of classical music, not in so much detail as to be confusing or exhausting but enough for the non musician to benefit from reading his book. On the whole I think he is pretty successful. After a couple of chapters on how we listen and the creative process Copland gets down to the serious business of introducing some music theory. He tackles the four elements of music; Rhythm, Melody, Harmony and Tone Colour using some actual musical examples, this will obviously be the hardest section of the book for anyone without any knowledge of music theory, but I found that I got through them with a clearer idea of how music works.
There are chapters on musical texture and musical structure and then some really excellent pieces on what Copland calls fundamental forms. These are variation forms, fugal forms, sonata forms and free forms and they basically take the reader through the development of modern classical music, without getting bogged down in technical; details. These are very fine chapters indeed, written clearly and concisely with plenty of examples of works that the reader can go away and listen to.
The book finishes with more excellent chapters on Opera and Film music and then some wonderfully intelligent words on contemporary classical music, exhorting the reader not to give up on the sound that the music makes but to keep listening until the patterns or melodies form themselves more clearly in the mind and then enjoyment may follow. Copland originally wrote the book in 1939 and so contemporary music for him was obviously the first part of the 20th century. The book was revised in 1957 with an authors note for that edition and there is an introduction by William Schuman and an epilogue by Alan Rich.
Copland’s book not only lets us into some of the secrets of how music works, but also why it works that way. His enthusiasm for music is infectious and it does what all good books on music should do “make you want to go and hear some music” , but with Copland's wise words ringing in your ears “listen intelligently” - no dozing off to sleep in those overheated concert halls or while listening to your CD’s at home. This is one of those books that I wish I had read 20 years ago, there is a lot of catching up to do. An excellent introduction to music and a five star read.
“No listener can afford to ignore this
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point, for it is fundamental to a more intelligent approach toward listening……………….. Polyphonic textures implies a listener who can hear separate strands of melody sung by separate voices , instead of hearing only the sound of all the voices as they happen from moment to moment, vertical fashion……No point in this book needs direct musical illustration more than this one."“Chapter 1 began with the premise that it is essential in learning to listen more intelligently, to hear a great deal of music over and over again and no amount of reading could possibly replace the listening.”
“The key to understanding contemporary music is repeated listenings”
“Take seriously your responsibilities as a listener…………….Music can only be really alive when there are listeners who are really alive. To listen intently, to listen consciously, to listen with ones whole intelligence is the least we can do in the furtherance of an art that is one of the glories of mankind”
Copland sets out to provide the listener with the tools to hear exactly what is going on in a piece of classical music, not in so much detail as to be confusing or exhausting but enough for the non musician to benefit from reading his book. On the whole I think he is pretty successful. After a couple of chapters on how we listen and the creative process Copland gets down to the serious business of introducing some music theory. He tackles the four elements of music; Rhythm, Melody, Harmony and Tone Colour using some actual musical examples, this will obviously be the hardest section of the book for anyone without any knowledge of music theory, but I found that I got through them with a clearer idea of how music works.
There are chapters on musical texture and musical structure and then some really excellent pieces on what Copland calls fundamental forms. These are variation forms, fugal forms, sonata forms and free forms and they basically take the reader through the development of modern classical music, without getting bogged down in technical; details. These are very fine chapters indeed, written clearly and concisely with plenty of examples of works that the reader can go away and listen to.
The book finishes with more excellent chapters on Opera and Film music and then some wonderfully intelligent words on contemporary classical music, exhorting the reader not to give up on the sound that the music makes but to keep listening until the patterns or melodies form themselves more clearly in the mind and then enjoyment may follow. Copland originally wrote the book in 1939 and so contemporary music for him was obviously the first part of the 20th century. The book was revised in 1957 with an authors note for that edition and there is an introduction by William Schuman and an epilogue by Alan Rich.
Copland’s book not only lets us into some of the secrets of how music works, but also why it works that way. His enthusiasm for music is infectious and it does what all good books on music should do “make you want to go and hear some music” , but with Copland's wise words ringing in your ears “listen intelligently” - no dozing off to sleep in those overheated concert halls or while listening to your CD’s at home. This is one of those books that I wish I had read 20 years ago, there is a lot of catching up to do. An excellent introduction to music and a five star read.
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LibraryThing member annbury
This is a TERRIFIC book about music for music lovers who want to learn more about music. 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
Copland takes the reader through the building blocks of music, starting 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 "I don't know much about music, but I know what I like" types like me. 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 several 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.
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going on in a particular piece. Copland takes the reader through the building blocks of music, starting 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 "I don't know much about music, but I know what I like" types like me. 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 several 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.
Show Less
LibraryThing member keylawk
With an Index, Bibliography, and most helpfully, a "list of recorded works" cited as illustrations of points in the book. For example, the author looks at How We Listen through the Four Elements of Music--Rhythm, Melody, Harmony, and Tone Color -- and then lists the works which illustrate each of
Since Copland is a gifted composer as well as a performing musician, his insights are resonant.
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these Elements. Of course, the lists are, well, entirely arbitrary! But the selections are, well, wonderful. Since Copland is a gifted composer as well as a performing musician, his insights are resonant.
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LibraryThing member BrianDewey
Copeland, Aaron. What to Listen For in Music. Signet Classic, New York, 2002. A great, accessible book on different musical forms. I learned a lot -- much of it minor, and one fundamentally important: I need to pay attention to the melody in classical music. Oddly enough, I've never done this; I
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listen instead to the overall musical texture. I'm now re-listening to many pieces of music, focusing on the melody and on how the composer plays with it. I'm enjoying my music more. Either Copeland was on to something, or it's just the placebo effect? Show Less
LibraryThing member KirkLowery
This is a classic; if you're serious about classical music, then this is a must read. Warning: in 1935 when this book was written, people were generally more musically literate. If you don't know the difference between the tonic and dominant chords, expect to spend some time with Wikipedia.
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Copeland's discussion of musical forms is simple and clear. His discussion of modern music is less so and I found unconvincing. Nevertheless, his point that the listener must be active is spot on. Show Less
LibraryThing member Paul-the-well-read
Composer Aaron Copeland begins by reminding people that the best way to learn to appreciate music is to just listen to it. Nevertheless, understanding a little about the various elements that comprise music, the building blocks of a composition, can help listeners not only enjoy but also more
I cannot say I have completed the book because I am actually reading it more like a study guide or textbook. I read a little, then turn to either the music Copland has suggested or to other music where I hope to find the components of music the composer incorporated into his work.
I feel like the book has made a difference for me and that I am feeling more closely engaged with the music I am hearing, especially Classical Music which so often carries a deeper meaning and message than is readily available from simply listening to it.
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deeply understand any musical composition.I cannot say I have completed the book because I am actually reading it more like a study guide or textbook. I read a little, then turn to either the music Copland has suggested or to other music where I hope to find the components of music the composer incorporated into his work.
I feel like the book has made a difference for me and that I am feeling more closely engaged with the music I am hearing, especially Classical Music which so often carries a deeper meaning and message than is readily available from simply listening to it.
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LibraryThing member Steve38
Though showing its age this is a great little book. Composer Aaron Copland takes us through basic structures in music to help us understand better when we listen. A pretty didactic, no nonsense style but clear and helpful. I'll enjoy concerts a little more now.
LibraryThing member bostonbibliophile
A lot of this is way above my pay grade but it was fascinating and I'm sure something I will return to again and again. It's old-fashioned and a lot of Copland's language is outmoded to say the least (it's like women don't exist) but there's a lot to gain from reading this important work.
Subjects
Awards
ALA Outstanding Books for the College Bound (Non-fiction — 1999)
Language
Original publication date
1939
ISBN
none