What to Listen For in MusicPenguin, 1 feb 2011 - 304 páginas Now in trade paperback: “The definitive guide to musical enjoyment” (Forum). In this fascinating analysis of how to listen to both contemporary and classical music analytically, eminent American composer Aaron Copland offers provocative suggestions that will bring readers a deeper appreciation of the most viscerally rewarding of all art forms. |
Índice
Fundamental Forms I Sectional Form | 103 |
Fundamental Forms II Variation Form | 115 |
Fundamental Forms III Fugal Form | 131 |
Fundamental Forms V Free Forms | 161 |
Opera and Music Drama | 174 |
Contemporary Music | 194 |
From Composer to Interpreter to Listener | 211 |
Otras ediciones - Ver todo
What to Listen for in Music Aaron Copland,Leonard Slatkin No hay ninguna vista previa disponible - 2011 |
Términos y frases comunes
Aaron Copland Arnold Schoenberg Bach bass Beethoven beginning Béla Bartók called Cancrizans cello century chaconne character chorale chords clarinet composer composer's composition concerto grosso contemporary music contrapuntal created Debussy Deutsche Grammophon development section elements emotional example expressive feeling flute formal molds four fugal fugal forms fugue fugue subject ground bass harmonic Haydn hear idea instruments interpreter jazz kind later listening to music madrigal material means melodic line melody ment mind minuet modern motet movement Mozart music drama musicians notes oboe ONE-two-three opera orchestra outlines passacaglia piano piece of music plane play polyphonic polyrhythms poser Prelude program music reader recording repetition rhythm rhythmic rondo scale scherzo Schoenberg score sense separate sonata form sonata-allegro form sound Stravinsky string quartet style symphony texture theater thematic theme thing tion tonal tone color tonic variation form varied violin voices Wagner words writing written