What to Listen For in Music
Penguin, 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.
Opera and Music Drama
From Composer to Interpreter to Listener
Typical Variation Formulas
Analysis of Beethovens Waldstein Sonata Op 53
Fundamental Forms Chapter 11 Fundamental Forms Chapter 12 Fundamental Forms Chapter 13 Fundamental Forms Chapter 14 Fundamental For...
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Aaron Copland Arnold Schoenberg Bach Bach’s bass basso ostinato bassoon Beethoven beginning cancrizans cello century chaconne chords clarinet composer’s composition concerto grosso contemporary music contrapuntal contrapuntal device Couperin Debussy descriptive music Deutsche Grammophon development section dissonance elements emotional example exposition expressive feeling film flute formal molds fugal forms fugue fugue subject ground bass harmonic Haydn hear history of music imitation instruments interpreter jazz kind listener’s listening to music madrigal material meaning melodic line melody Milhaud minuet modern composers movement Mozart music drama musicians nature notes oboe opera passacaglia piano piece of music plane play polyphonic polyrhythms program music reader recording repetition rhythm rhythmic rondo scale scherzo Schoenberg score sectional form sense separate sonata form sound Stravinsky string quartet structure symphonic form symphony texture theater thematic theme and variations thing tonal tone color two-part form variation form violin voices Wagner woodwind words writing