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Michelle You don’t need the paperback page number, you need to learn how to cite electronic sources. May 10, Paul rated it it was amazing. All that is interesting but not so much if you want to focus the nature of the music itself. See all 3 questions about What to Listen for in Music…. Everything else in here you can find on Wikipedia. A tight overview of the most significant things to look out for when listening to classical music.

May 11, Jakob Hansen rated it mudica it. To be properly understood in relation to a piece of music, it must be felt.

View all 4 comments. Oct 05, Jee Koh rated it really liked it. As to be expected from a contemporary composer, Copland makes a pitch for modern music: Aug 24, JJ rated it really liked it Shelves: I have been reading it in conjunction with Bernstein and a variety of Youtube clips. As a decidedly non-layperson to the music world, I found myself skimming the beginning theory sections.

Other works during this period were a series of movie scores including “Of Mice and Men” and “The Heiress” His thesis is that knowledge and active engagement make more richer musical experiences, and that restricting your consumption to background listening or certain periods restricts our diet unnecessarily. Jun comi, Rafaela de Marsillac Garcia rated it it was amazing. I’ve already gained immensely in the area of early 20th century works and am looking forward to extending my listening range.

Nonetheless, What to Listen for in Music is a very good read. May 09, Martin Read rated it it was amazing Recommends it for: 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. If that IS the case, then it’s an AMAZING book that opens the door to a semi-lay music lover for a world of technicalities, of variations, behind the scenes of the final result that we listen to, and makes us have a much more complex understanding of the music we listen to.


View all 3 comments. Wagner he praises cmoo his music, but deplores for his ideas and words: I’m sure you won’t regret it! In an introductory section, Copland rscuchar the “expressiveness” of music against the proponents of “pure” music.

The theme as stated before is why one should learn to better listen to the music that they are hearing.

I enjoyed reading it. There is l chapter on opera and music drama, in which he lines up the composers on opposing sides based on whether they exalt the word or the music.

A great introduction to ideas, vocabulary, and structure for music appreciation. Besides that – it is not worth reading. You can often learn a bit about a composer’s personality by listening to his works, but hearing him give a discourse on the subject was invaluable in appreciating his pieces more.

Most will find something to chew on here, as Copland explores the elements of tone, harmony, texture, and rhythm that make up all music. That defence seems to rest on the idea of authorial intention.

What to Listen for in Music by Aaron Copland

This book should be read by anyone who studies music, loves music, or just claps their hands everytime the song Handclap comes on the radio at work. By these means Bach engenders a feeling of free fantasy and a bold freedom of design that would be impossible to achieve within a strict form. While this book may clarify musical forms in the way an “Introduction to Music Appreciation” lecture might, its chapters on “Contemporary Music” c. Copland’s growth as a composer mirrored important trends of his time.

Knowledge enhances passion, as I try rather vainly to persuade my students about poetry. Sep 22, Genni rated it really liked it Shelves: The composer hits upon a musical theme and develops it the way he does because he wishes to express “something” through the music. Most people only hear one level of music when just listening to it, but as Aaron Copland explains in his book there are actually three.


In he changed his orientation toward a simpler style. His musical works ranged from ballet and orchestral music to choral music and movie scores. His style is also a bit stuffy. I do not appreciate the writing style and Copland comes off as being a bit arrogant and high-brow in his writing, This book is probably great for musicians, but non-musicians should be careful picking this up.

It has so much to offer, and we have so much to offer as listeners. In mere words, it simply means that every good piece of music must give us a sense of flow–a sense of continuity from first note to last.

What to Listen for in Music

Overall, a really fantastic book written by one of the most influential American composers of the 20th century. The author says it’s a book even for lay people, when, in fact, it would be preferable to have a minimum of sensitivity and musical knowledge.

Sectional, Variation, Fugal, Sonata and Free, tracing as he does so the historical development of some classical styles. Copland suggestively defines music as a language for emotions that are inexpressible in written or spoken language.

Escuchzr those sections, it would have been helpful to have him sitting next to me at a piano to illustrate the forms he was describing. As we move into a an age where we don’t kill trees to make …more You don’t need the paperback page number, you need to learn how to cite electronic sources. In this book first written in the s, Copland distinguishes between listening on a sensuous plane mere enjoyment of the quality of sound and on expressive and sheerly musical planes.

Paperbackpages. Highly recommended as a first read for the concert-goer, musicz enthusiast, the budding musician, and even egg-heads from other fields.