What To Listen For In Music Aaron Copland Pdf
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In Search of a Concrete Music
Author: Pierre Schaeffer
language: en
Publisher: Univ of California Press
Release Date: 2012-11-26
Suitable for those interested in contemporary musicology or media history, this title offers a translation of the author's pioneering work - at once a journal of his experiments in sound composition and a treatise on the raison d'etre of concrete music.
The Pleasures of Music
Author: Aaron 1900-1990 Copland
language: en
Publisher: Hassell Street Press
Release Date: 2021-09-09
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Our New Music
"Many music lovers feel that they cannot appreciate modern music, and even those who like to listen to it often find it difficult to evaluate. Why does it almost always, at first hearing, sound so disturbing? Why does it appear to be lacking in melody (unlike the masterpieces of the 19th century)? Is it always complex and formidable? What aims and ideas have the composers in mind? Aaron Copland attempts to answer these questions. He shows first of all how contemporary music grew naturally out of the work of such masters as Moussorgsky and Debussy, through Schoenberg, Stravinsky, Bartok, Hindemith, to the work of younger Americans like Roy Harris, Virgil Thomson, and Marc Blitzstein. The book offers a brilliant panorama of fifty years of new music. It also provides an introduction to the formative ideas of the period, and a survey of recent and current trends. Then the author discusses individually certain leading composers of Europe and America. A special section is devoted to six outstanding Americans, together with a discussion of Carlos Chavez and a review of certain aspects of Mr. Copland's own career as a composer. The book closes with a consideration of developments in new musical media--the radio, the phonograph, the movies. Such a book gives the reader not only a better understanding of new music but a basis for selecting what is good, and increased pleasure in listening. Mr. Copland's manner of writing is clear and simple in the extreme. Like his previous book, 'What to Listen for in Music,' 'Our New Music' is certain to be accepted as the best book in its field."--Dust jacket.