Como Escuchar La Musica by Aaron Copland, , available at Book Depository with free delivery worldwide. Este libro es unico en su genero. Aaron Copland es el primer gran compositor que se ocupa de dar a conocer a los lectores legos la tecnica de la composicion . Cómo Escuchar La Música by Aaron Copland. You Searched For: Seller: Alcaná Libros. (Madrid, Spain) COMO ESCUCHAR MUSICA: AARON COPLAND.
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Music must always flow, for that is part of its very essence, but the creation of that continuity and flow–that long line–constitutes the be-all and end-all of every composer’s existence.
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The meaning is the same 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.
Though unable to foresee the future coming changes in the ever-growing and changing musical structures and experimentations that has occurred in the past 50 years, Copland’s analysis and brilliance outlined throughout this book still gives much for the composer, musician, and layperson to learn from, even with the changing and fluid styles of music in this current sonic period. As a book for the layperson, I think it’s wonderful. The “dissonance” of modern music lies in our unfamiliar ears, and is not so very different from the dissonance of earlier innovative music in the ears of its own contemporary audience.
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 A chapter on film music, a genre Copland himself wrote, focuses on the process of composition and collaboration. I haven’t read it in a few years, but I started it again today and it’s just as I remembered it: He felt this made his music more meaningful to the large music-loving audience being created by radio and the movies.
Cómo escuchar la música – Aaron Copland – Google Books
A great introduction to ideas, vocabulary, and structure for music appreciation. Therefore elitism reduces the usefulness of this book. I am a musician and read this as part of a Humanities class and was worried about half the lbro in the room who had never taken a music lesson in their life. He did this by providing an outline of the most common musical forms and variations, and what their purposes were.
Todos los derechos reservados. Libor be properly understood in relation to a piece of music, it must be felt. Detalles del producto Libro de bolsillo: He wrote What to Listen for in Music as a guide for people unfamiliar with classical music. There are no discussion topics on this book yet.
Based on a libroo of lectures and first published inWhat to Listen for in Music remains in print. But there isn’t that much that I have found about the music itself which really helps me understand what is going on in a particular piece.
It is no good only reading about music; to know music you obviously must listen to it and Copland has provided a wealth of selections for that purpose. The Creative Process in Music. To illustrate “free” forms, Copland, rather surprisingly, refers to Bach. Are they really being sensitive to it?
It gives you tips and ideas for listening to the different elements of classical music, melody, harmony, rhythm with examples dscuchar works to listen to.
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! Granted he makes assumptions based on this, being that you know what lots of musical jargon means, but if one is going to read this book that can be assumed.
In those sections, it would have been helpful to have him sitting next to me at a piano to illustrate the forms he was describing. Supported early in his career by Serge Koussevitzky, Copland employed folk elements in many of his compositions, among them Billy the KidAppalachian Springand Rodeo Whether they listen to Mozart or Duke Ellington, Aaron Copland invites readers to ask two basic questions: Music really is msica of the glories of mankind.
I am surprised it took me so long to discover this book, as it is so well written and so useful for better understanding the ways to enjoy concert music.
His most important works during this period were based on American folk lore including “Billy the Kid” and “Rodeo” In Copland’s hands it feels as if was left too long in a dehydrator.
What Copland wants the listener to do is go beyond pure sensuous enjoyment and use his or her brain to follow the music as it unfolds — to listen, not just hear. As to be expected from a axron composer, Copland makes a pitch for modern music: Every elementary music student knows the principle, but to put it into practice has challenged the librro minds in music! By these means Bach engenders escucnar feeling of free fantasy and a bold freedom of design that would be impossible to achieve within a strict form.
I enjoyed reading it.
Copland begins with an explanation of esuchar music is and how it functions, moves to instruments, then to forms, adds an apologist chapter for contemporary music, and finishes with a chapter of what it means to be a good listener and the very significant llbro listeners play in the participation of the music creation.
I felt that it improved my understanding of classical form considerably although my lack of musical knowledge made some chapters difficult. For the uninitiated, Aaron Copland, the author, is one of the most highly regarded American composers. It is well-structured and clear, and it doesn’t waste words. It is difficult adequately to explain the meaning of that phrase to the layman.
Excellent book for those who are interested in a more technical approach. What to Listen for in Music by Aaron Copland. After this, he concludes with brief surveys of opera, film music, and what was then contemporary serious music. Also, I appreciated his moralizing about putting effort into music listening. View all 4 comments. May 09, Martin Read rated it it was amazing Recommends it for: