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Based on a series of lectures and first published inWhat to Listen for in Music remains in print.

What to Listen for in Music by Aaron Copland

There are no discussion topics on this book yet. It is well-structured and clear, and it doesn’t waste words. A must read for any avid music lover. His first tentative steps included a correspondence course in writing copalnd. As a decidedly non-layperson to the music world, I found myself skimming the beginning theory sections. It might also serve well to clarify certain parts of the structure of music for one who already is well seasoned but lacks the knowledge of a professional musician.

It has also reinforced my interest in the period 1 I enjoyed reading it. Jan 14, Joshua rated it really liked it.

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 for help or do extra research. I HIGHLY recommend you listen to the works he mentions while reading the book, musicz gives you a much much clearer understanding of what he is trying to explain A chapter on film music, a genre Copland himself wrote, focuses on the process of composition and collaboration.

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Copland takes a fascinating topic and manages to make it seem tedious.

His most important works during this period were based on American folk lore including “Billy the Kid” and “Rodeo” This book is cut up by a damaging assumption: One of the most endearing aspects of Com is his insistence on the necessity of listening to and appreciating various genres of music. To see what your friends thought of this book, please sign up.

A tight overview of the most significant things to look out for when listening to classical music. It gives you tips and ideas for listening to the different elements of classical music, melody, harmony, rhythm with examples of works to listen to.

View all 4 comments. 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 coplaand piece after a brief refresher of its chapter context. It might be helpful for those who, like me can neither read music nor recognize pitch, to supplement Copland mmusica before or after with a work on the general history of Western music.

Most people only sscuchar one level of music when just listening to it, but as Aaron Copland explains in his book there are actually three.

En serio vale la pena. We may never like it, but it contains riches that deserve our effort and appreciation, like any other period and form. View all escufhar comments.


What to Listen for in Music

It isn’t a bad introduction to classical music, though in some parts it is a little dated. This was a required book for a very basic music appreciation course I had to take. Although this is not quite the emotional trip as “Joy of Music” by Bernstein, it is the affections of a master laid in front of those of us who are interested.

This book was a great introduction. Fine one, will use some ot very direct and explicit remarks of Mr. Wonderful introduction to music. He wrote What to Listen for in Music as a guide for people unfamiliar with classical music.

Standard issue for Freshman majors or it least it was once upon a time “What to Listen for I felt that it improved my understanding of classical form comp although my lack of musical knowledge made some chapters difficult. A great introduction to ideas, vocabulary, and structure for music appreciation.

The meaning is the al as copland argues the one is merely listening to the music that is presented to them and not hearing the beauty and the layers of it. That defence seems to rest on the idea of authorial intention. As to be expected from a contemporary composer, Copland makes a pitch for modern music: His musical works ranged from ballet and orchestral music to choral music and movie scores.

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