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Cómo escuchar la música (Breviarios)…
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Cómo escuchar la música (Breviarios) (Spanish Edition) (original: 1939; edição: 2017)

de Aaron Copland (Autor)

MembrosResenhasPopularidadeAvaliação médiaConversas / Menções
1,3661310,112 (3.84)1 / 40
'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… (mais)
Membro:germanortizplata
Título:Cómo escuchar la música (Breviarios) (Spanish Edition)
Autores:Aaron Copland (Autor)
Informação:Fondo de Cultura Económica de España (2017), Edition: 1, 284 pages
Coleções:Sua biblioteca
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What to Listen for in Music de Aaron Copland (1939)

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Composer Aaron Copeland begins by reminding people that the best way to learn to appreciate music is to just listen to it. Nevertheless, understanding a little about the various elements that comprise music, the building blocks of a composition, can help listeners not only enjoy but also more deeply understand any musical composition.
I cannot say I have completed the book because I am actually reading it more like a study guide or textbook. I read a little, then turn to either the music Copland has suggested or to other music where I hope to find the components of music the composer incorporated into his work.
I feel like the book has made a difference for me and that I am feeling more closely engaged with the music I am hearing, especially Classical Music which so often carries a deeper meaning and message than is readily available from simply listening to it. ( )
  Paul-the-well-read | Apr 18, 2020 |
What to Listen For In Music is a primer on Music Appreciation written by Aaron Copland. While I do enjoy Copland’s arrangements, but I was not aware of his position as a music professor. This book is pretty old. The edition I read came out in 1988, but the first edition had a copyright of 1939. According to the author information, Copland was still alive at the time of publication.

Anyway, the book talks about the different aspects of music and how to listen to them in practice. The book mainly focuses on Classical Works. This is not an issue for me since I really enjoy the Classics. When I was younger, Classical was the only thing I listened to besides Hymns, Church Music and the music my mom listened to, but that is a tale for another day. Interspersed within the book are excerpts of sheet music demonstrating the ideas that he is writing about. So Copland divides the book into eighteen chapters where he talks about the basics of music. Not surprisingly, Copland also discusses the idea of inspiration and how he comes by his own themes. Copland speaks of Rhythm, Melody, Harmony, and Tone Color in the earlier chapters. Then he moves on to Musical Themes with stuff like the Rondo form.

The book flows well. Although the sheet music sections are interesting, I really can’t read sheet music with any fluency. Therefore, I feel that it is slightly inappropriate for a person of my skill level. The prose has a sort of quality to it that makes you imagine a 1950s radio announcer reading the book to you. Maybe if this came out as an audiobook they would do something like that. Perhaps the book had a record or LP to go along with it so you could understand what he was talking about.

All in all, the book was enjoyable. ( )
  Floyd3345 | Sep 19, 2019 |
Aaron Copland es el primer gran compositor que se ocupa de dar a conocer a los lectores legos la técnica de la composición musical en un lenguaje sencillo y directo. Dado que escuchar la música es una capacidad que se adquiere por medio de la experiencia y el aprendizaje, esta edición nos ofrece una vez más la oportunidad de acercarnos a la música llamada seria de una forma consciente y participativa.
  ampapulcinella | Nov 3, 2016 |
I ended up attending a few concerts in and after I read this and I think it did help my understanding but mostly it was just a welcome relief from daily things.
  amyem58 | Jul 3, 2014 |
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 difference between the tonic and dominant chords, expect to spend some time with Wikipedia. Copeland's discussion of musical forms is simple and clear. His discussion of modern music is less so and I found unconvincing. Nevertheless, his point that the listener must be active is spot on. ( )
  KirkLowery | Mar 4, 2014 |
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» Adicionar outros autores (8 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Aaron Coplandautor principaltodas as ediçõescalculado
Rich, AlanEpilogueautor secundárioalgumas ediçõesconfirmado
Rich, AlanPrefácioautor secundárioalgumas ediçõesconfirmado
Schuman, WilliamIntroduçãoautor secundárioalgumas ediçõesconfirmado
Slatkin, LeonardContribuinteautor secundárioalgumas ediçõesconfirmado

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To put down as clearly as possible the fundamentals of intelligent music listening is the object of this book. [Preface]
All books on understanding music are agreed about one point: You can't develop a better appreciation of the art merely by reading a book about it.
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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

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Penguin Australia

2 edições deste livro foram publicadas por Penguin Australia.

Edições: 0451226402, 0451531760

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