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by William Schuman,Aaron Copland

Download What to Listen for in Music (Mentor Series) fb2, epub

ISBN: 0451623738
Author: William Schuman,Aaron Copland
Language: English
Publisher: Signet (January 1, 1953)
Category: Music
Subcategory: Art
Rating: 4.6
Votes: 750
Size Fb2: 1986 kb
Size ePub: 1533 kb
Size Djvu: 1681 kb
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Aaron Copland (Author), William Schuman (Introduction). 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.

Aaron Copland (Author), William Schuman (Introduction). Even without this, however, I have learned a great deal from this book.

Whether they listen to Mozart or Duke Ellington, Aaron Copland invites readers to ask two basic questions .

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.

A subjective and objective attitude is implied in both creating and listening to music. A book for the lay listener by the Aaron Copland of Appalachian Spring? Yes, please.

Moving quickly to allay the fears of those who don’t consider themselves musical, he strongly asserts that the ability to read music or recognize pitch isn’t necessary to be an intelligent listener. A subjective and objective attitude is implied in both creating and listening to music. Highly recommended for the insight and the sensitivity (without condescension) with which the reader is guided through the basics of listening to music.

Copland, Aaron, 1900-. inlibrary; printdisabled; ; china. Books for People with Print Disabilities. Internet Archive Books. Uploaded by booksale-cataloger6 on September 27, 2011. SIMILAR ITEMS (based on metadata).

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About What to Listen for in Music. Now in trade paperback: The definitive guide to musical enjoyment (Forum). People Who Read What to Listen for in Music Also Read.

Other books in this series . 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. 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.

Электронная книга "What to Listen For in Music", Aaron Copland

Электронная книга "What to Listen For in Music", Aaron Copland. Эту книгу можно прочитать в Google Play Книгах на компьютере, а также на устройствах Android и iOS. Выделяйте текст, добавляйте закладки и делайте заметки, скачав книгу "What to Listen For in Music" для чтения в офлайн-режиме.

What to Listen for in Music, Paperback by Copland, Aaron; Slatkin . What To Listen For In Music (US IMPORT) BOOK NEW -Copland, Aaron/ Slatkin, L. .

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Aaron Copland built much of his career on writing modern "classical" music that could be enjoyed and appreciated .

Aaron Copland built much of his career on writing modern "classical" music that could be enjoyed and appreciated by the common listener. He felt that modern music should communicate to the non-musician, as well as the more experienced one. He knew that if the listener understood what made up the basics of musical composition and structure, that the experience of listening would be tremendously enhanced. Overall, Aaron Copeland's What To Listen For In Music is a good book that I recommend to anyone who has an interest in music or enjoys listening to it. A whole new level of listening ability can be gained from reading this book.

What to Listen for in Music PDF Part1

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Comments:

Ese
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.
Wymefw
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.
Humin
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
Tekasa
Music people either love or hate this book. I've never met anyone who is ambivalent to it, or "kind of" likes it or doesn't like it. I fall into the camp of loving it. I have a million years of musical experience and degrees, but this book makes "intelligent" music more accessible to the lay person. I haven't read it in a few years, but I started it again today and it's just as I remembered it: informative and interesting.
Kulabandis
Recommended by a friend, this is a very clear, easy to follow book for anyone who likes or loves classical music and wants to get even more enjoyment out of it.

As a musician myself it is very interesting to hear one of America's finest composers talk about music in a way that demystifies the listening process. To paraphrase Mr. Copland, people have no trouble going to the theater and then discussing how they felt about the performance with little or no background in the dramatic arts, yet people who go to classical music concerts are not sure they are qualified or educated enough about music to "understand" or form and opinion about it.

This book teaches the reader that "I don't know anything about music" doesn't mean you can't enjoy it. By applying the information in this book one can potentially learn to hear more by becoming an active listener, which in turn increases understanding and enjoyment.
riki
Ever since I took a Music Appreciation course at a community college in my home town back in the Summer of 1967, I have been fascinated with classical music. I still refer to the text book today from time to time. Aaron Copland's book really gets into the nuts and bolts of how music is created for us laymen. For me, it represents the main resource for the understanding of music theory and comprehension. I would recommend this classic work for anyone who is truly serious about the subject.

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