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What to Listen for in Music di Aaron Copland
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What to Listen for in Music (originale 1939; edizione 2002)

di Aaron Copland (Autore)

UtentiRecensioniPopolaritàMedia votiConversazioni / Citazioni
1,6361810,774 (3.83)1 / 41
'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… (altro)
Utente:TheBookJunky
Titolo:What to Listen for in Music
Autori:Aaron Copland (Autore)
Info:Signet Classics (2002), 304 pages
Collezioni:La tua biblioteca
Voto:
Etichette:to-read, library, non-fiction, music

Informazioni sull'opera

Come ascoltare la musica di Aaron Copland (1939)

Aggiunto di recente dammundorf, JRsLibrary, justinx101, mice_elf_test01, KBTinycat24, AycanKH, amialive, feliubooks, cclarose84
Biblioteche di personaggi celebriAaron Copland
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» Vedi le 41 citazioni

Excellent introduction to the forms of classical music, from madrigals and fugues to opera to atonal symphonic poems. Copland gives suggestions for what masterpieces to study. You can then go to YouTube and find excellent performances with scrolling scores to follow from one measure to the next. What fun! My first try was J. S. Bach's Passacaglia and Fugue in C Minor (BWV 582). Try for yourself. You'll experience new dimensions to Bach's amazing genius. ( )
  Cr00 | Apr 1, 2023 |
Este livrinho foi minha iniciação a uma arte pura que é uma das glórias da humanidade. Nenhum melômano pode dar-se ao luxo de ignorar a premissa de que é essencial aprender a ouvir música de forma mais inteligente. Ouvir muita música repetidas vezes. Nenhuma quantidade de leitura poderá substituir a audição direta. O segredo para entender a música – a boa música, evidentemente – está na consciência, na educação do ouvido, na seriedade, na atenção e na inteligência - o mínimo que podemos fazer em prol de Domina Musica ( )
  jgcorrea | Jun 1, 2022 |
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 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. ( )
  PaulLoesch | Apr 2, 2022 |
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. ( )
  bostonbibliophile | Jan 8, 2022 |
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. ( )
  Steve38 | Sep 7, 2021 |
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» Aggiungi altri autori (8 potenziali)

Nome dell'autoreRuoloTipo di autoreOpera?Stato
Aaron Coplandautore primariotutte le edizionicalcolato
Rich, AlanPrefazioneautore secondarioalcune edizioniconfermato
Schuman, WilliamIntroduzioneautore secondarioalcune edizioniconfermato
Slatkin, LeonardCollaboratoreautore secondarioalcune edizioniconfermato

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To put down as clearly as possible the fundamentals of intelligent music listening is the object of this book. [Preface]
All books on understanding music are agreed about one point: You can't develop a better appreciation of the art merely by reading a book about it.
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'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

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