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That starts with a greater understanding of the technical aspects of music and composition which Copland has provided and culminates in being able to simply let a piece – no matter how “formless” and atonal – happen, giving it the freedom to create nostalgia, to re create an emotional experience that envelops us for 10 minutes or three hours. Everything is educational from a technical standpoint, and it was interesting to read a composition giant’s musings, however opinionated and d 2.
After his return from Paris he worked with jazz rhythms in his “Piano Concerto” coppland It is difficult adequately to explain the meaning of that phrase to the layman. Here is a good resource for you: The only downside was that Copland is very much a man of the mid twentieth century – he adheres strongly to a very evolutionary view of music, is often a little ethnocentric, and uses language such that you would think the only time women are professionally involved with music is when someone needs a soprano.
I’ve been curious about the forms of the music and how to better understand this sometimes musiva music I hear in the concert hall. If you’re not a musician, you might need a little bit of help understanding some of the more complicated concepts, but don’t be afraid to ask A very good book for both musicians and non musicians!
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. 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. Aaron Copland stands as one of the giants of American composers.
This guide is a very easy read for anyone with at least a rudimentary musical education, and is unlikely to lose many readers who lack one. I HIGHLY recommend you listen to the works he mentions while reading the book, it gives you a much much clearer understanding of what he is trying to explain I highly recommend every reader do something similar. To illustrate “free” forms, Copland, rather surprisingly, refers to Bach.
I enjoyed his chapter on the craft of composing—all the different methods and processes. Every elementary music student knows the principle, but to put it into practice has challenged the greatest minds in music!
It is highly readable and chockfull of examples for laymen like myself armed with Deezer and largely illiterate in reading musical scores. Are you really being sensitive to it? I am a musician and read this as part of a Humanities class and was worried about half the people in the room who had never taken a music lesson in their life.
Copland urges the reader to listen for mjsica long line,” the path along which a piece of music develops, and finally coheres. It’s smart, detailed, comprehensive, and Copland punctuates his objective analyses with stirring descriptions of the emotional impact of music that remind readers how evanescent and mysterious good music is. Feb 15, Tony rated it really liked it Shelves: Oct 05, Timothy rated it really liked it Shelves: To see what your friends thought of this book, please sign up.
The author says it’s a book even for lay people, when, in fact, muzica would be preferable to have a minimum of sensitivity and musical knowledge. Everything is educational from a technical standpoint, and it was interesting to read a composition giant’s musings, however opinionated and dated can’t say I agree with Copland that the double bass isn’t used as a solo instrument!
The best parts were Copland’s descriptions of the compositional process, since, well, he was Aaron Copland. Jun 19, Rafaela de Marsillac Garcia rated it it was amazing.
What to Listen for in Music
He managed to take me — a reader untrained in formal music practice or theory — by the hand and help me understand the underlying principles of its structure.
Knowledge enhances passion, as I try rather vainly to persuade my students about poetry.
I had intended to listen as I went along, but when I realized I wouldn’t finish the book until summer if I kept up with that model, I decided to finish the book and then spend the next few months listening to each piece after a brief refresher of its chapter context. Copland in my educational work for sure They are often from Beethoven, probably because he is most familiar to eacuchar reader, but also because he ranks very high in Copland’s pantheon.
What to Listen for in Music by Aaron Copland
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. Can anyone help me with the page number from a paperback or hardback edition any edition will do?
A great introduction to ideas, vocabulary, and structure for music appreciation. I slogged through the second half. His style is also a bit stuffy. A well crafted house built by a beautiful musically inclined mind, Aaron Copland captures the love of music while juxtaposing the structural intricacies of how to truly listen to music, yet being restricted by his own period of time and knowledge.