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'One of the most helpful, sensible, and enjoyable discourses on the subject ever published.'-Victor Record ReviewIn this superb analysis of how to listen to music intelligently, Aaron Copland raises two basic questions: Are you hearing everything that is going on? Are you really being sensitive to it? If you cannot answer yes to both questions, you owe it to yourself to read this book. Whether you listen to Mozart or Duke Ellington, Aaron Copland's provocative suggestions for listening to music from his point of view will bring you a deeper appreciation of the most rewarding of all art forms. This classic work, the only book of its kind written by an eminent American composer, features:- Chapters on contemporary music and film music- Recommended recordings for each chapter- A selected list of books for further reading and reference In this edition, leading music critic Alan Rich continues Copland's discussion of contemporary music for today's listeners and traces the composer's success in bringing music lovers 'closer to the magical mysteries of the music we can hear and want to hear better.''By far the best thing of its kind yet to appear.'-Modern MusicWith a Foreword and Epilogue by Alan Rich and a New Appreciation by Leonard Slatkin
Aaron Copland-'s well-known and highly regarded compositions, performed and recorded extensively throughout the world, include the Pulitzer Prize-winning ballet Appalachian Spring, and the film scores of Our Town and The Heiress.
Table of Contents
What to Listen for in Music Aaron Copland: America's Musical Voice Foreword Introduction Author's Note for the 1957 Edition Preface Acknowledgments 1. Preliminaries 2. How We Listen 3. The Creative Process in Music 4. The Four Elements of MusicI. Rhythm 5. The Four Elements of MusicII. Melody 6. The Four Elements of MusicIII. Harmony 7. The Four Elements of MusicIV. Tone Color 8. Musical Texture 9. Musical Structure 10. Fundamental FormsI. Sectional Form 11. Fundamental FormsII. Variation Form 12. Fundamental FormsIII. Fugal Form 13. Fundamental FormsIV. Sonata Form 14. Fundamental FormsV. Free Forms 15. Opera and Music Drama 16. Contemporary Music 17. Film Music 18. From Composer to Interpreter to Listener Epilogue: "Since Then" Appendix I Appendix II Appendix III Suggested Bibliography for Further Reading Index