What to Listen For in Music

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Penguin, 1 feb. 2011 - 304 páginas
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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.
 

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LibraryThing Review

Reseña de usuario  - KirkLowery - LibraryThing

This is a classic; if you're serious about classical music, then this is a must read. Warning: in 1935 when this book was written, people were generally more musically literate. If you don't know the ... Leer reseña completa

LibraryThing Review

Reseña de usuario  - baswood - LibraryThing

According to Copland listening to classical music should not be a casual affair; one needs some knowledge of form certainly, but what is most important is that the listening should be an active ... Leer reseña completa

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Índice

SINGLE TONE COLORS
MIXED TONE COLORS
STRUCTURAL DISTINCTIONS
STRUCTURAL PRINCIPLES
TWOPART FORM
THREEPART FORM
THE RONDO
FREE SECTIONAL FORM
THE CHACONNE
THEME AND VARIATIONS
CONCERTO GROSSO
CHORALE PRELUDE
THE SONATA AS A WHOLE
SONATAALLEGRO OR FIRSTMOVEMENT FORM
THE SYMPHONY
SYMPHONIC POEM

BASSO OSTINATO
THE PASSACAGLIA
REFERENCE AND HISTORY
Página de créditos

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Sobre el autor (2011)

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. On being awarded a Congressional Gold Medal in 1986, Copland was praised for his “uniquely American music that reflects the very soul and experience of our people.” 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. He died in 1990.

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