What to Listen for in Music (Revised Edition)

Rate this book

Clear rating

1 of 5 stars 2 of 5 stars 3 of 5 stars 4 of 5 stars 5 of 5 stars

What to Listen for in Music (Revised Edition)

by Aaron Copland, Alan Rich (Foreword and Epilogue), William Schuman (Introduction)

3.93 of 5 stars 3.93 · rating details · 1,945 ratings · 65 reviews

In this fascinating 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 li...more

Paperback, 266 pages

Published November 5th 2002 by Signet Classics (first published 1939)

more details... edit details

Get a copy:

More…

Friend Reviews

To see what your friends thought of this book, please sign up.

Lists with This Book

Best School Assigned Books

418th out of 516 books — 1,273 voters

How to Make A Winning College Application Video Essay by Max Kiefer

Bury My Heart at Wounded Knee by Dee Brown

Encyclopedia of the Commemorative Coins of the United States by Anthony Swiatek

Non Fiction - Outstanding Books for the College Bound

35th out of 88 books — 20 voters

More lists with this book...

Community Reviews

(showing 1-30 of 3,000)

filter | sort: default (?) | rating details

Feb 28, 2009 Eric rated it 4 of 5 stars

An excellent beginning reference work for people interested in becoming better listeners. I feel I owe a debt of thanks to Copland for taking time from composing (how he usually and successfully expressed himself), to make what turned out to be a pretty impressive foray into writing.
My favorite parts are him just talking about what it is to be a composer, and how he tries to set himself and his world to an abstract art form. The thought processes, the tools and forms, and even the nagging doubts...more An excellent beginning reference work for people interested in becoming better listeners. I feel I owe a debt of thanks to Copland for taking time from composing (how he usually and successfully expressed himself), to make what turned out to be a pretty impressive foray into writing.
My favorite parts are him just talking about what it is to be a composer, and how he tries to set himself and his world to an abstract art form. The thought processes, the tools and forms, and even the nagging doubts, continued questions, and frustrations of his art. By talking about these things, he gives an invaluable look at the elements you can and should be searching for in the works of other composers.
I would loved to have given this book 5 stars, but I feel at times Copland assumes a little too much on the part of the reader. Number one, it really helps if you know how to read music, doubly so if you understand things like keys, chords, and even simple things like recognizing a key signature. His short excerpts, so revelatory if you have even a little understanding, are otherwise Greek to total laypeople. Try as he does to put his tremendous knowledge as a listener and artist behind him, he sometimes skips over critical concepts a little too quickly. An extra page or two on chords, tonic focus/structuring music around it, harmonic devices, all those and more would have been most welcome, especially given his talent for explaining things concisely. I know he says harmonic relationships are simply too complex to go into much detail in such a short work, but it is precisely the mysteries the trickier, more technical facets of music that brought me searching for his book in the first place.
His chapter on opera is more a history lesson than anything in particular as to what to search for in the music. Strange, considering how well he explained the various forms in instrumental music. It may be because that wasn't his chosen medium. He also seems a bit unnecessarily admonishing of society's reluctance to accept "new" music, but this attitude may be dated by the fact that much of his "new" music is 70 years old or more by now. I feel more convinced to try and approach some things with a more open mind, but I don't think I'll ever be singing the praises of Cage's 4'33", or feel any less a music fan for it.
For the chapters that are golden insight, 6 or 7 stars, for parts where you wonder where exactly he's going with the discussion, a few less. All in all, this is a remarkable and concise attempt by one tremendous talent to distill and pass on vital knowledge to a group that must be dear to his heart- music lovers, and those who take seriously and wish to improve their role as listeners.(less)

like · see review

Jan 16, 2010 Francis rated it 4 of 5 stars

This book is a concise and very informative account of (Western) musical concepts, musical forms, and compositional trends, written by one of the most prominent American composers of the last century. His target audience is a reasonably well-informed musical layperson who is reasonably familiar with classical music works but wants to take their understanding of musical appreciation to the next level. He distinguishes multiple planes of musical listening: the "sensuous" plane (sheer pleasure), th...more This book is a concise and very informative account of (Western) musical concepts, musical forms, and compositional trends, written by one of the most prominent American composers of the last century. His target audience is a reasonably well-informed musical layperson who is reasonably familiar with classical music works but wants to take their understanding of musical appreciation to the next level. He distinguishes multiple planes of musical listening: the "sensuous" plane (sheer pleasure), the "expressive" plane (the plane at which composers express some meaning), and the "sheerly musical" plane, (the acoustical and structural aspects). His goal is to help the readers understand their own perceptions of music by providing appropriate conceptualizations and vocabulary.

He spends several chapters on basic music-theoretical concepts (melody, rhythm, harmony, tone color/timbre). Some of the definitions (like what an interval is) are inlined so tersely that a complete neophyte might not be able to absorb them, but it is a concise and rather non-technical overview.

THen he spends the bulk of the book discussing musical forms, starting with basic kinds of variations, the evolution of multi-part harmony, variational forms, then on to various kinds of fugues (concerto grosso, chorale prelude, motet, madrigals). Then he talks about sonatas, symphonies, opera music, and then "new music" (as of ~1950).

The exposition is erudite, and the language that he employs is rather literary. He has very strong opinions (e.g., about which composers are the best, in various time periods) and he is not afraid to express them. Some of his language is rather antiquated and perhaps at times somewhat ethnocentric (e.g., in his discussion on rhythm, he opines that "All we can do is humbly to acknowledge their powerful and often hypnotic effect upon us and not feel quite so superior to the savage tribesman who first discovered them".)

Readers should be reasonably conversant with the classical music repertoire and be able to read notes (e.g., his musical excerpts) in order to fully appreciate this book. If it were to be reissued, it would be great to have an accompanying CD or equivalent, which I think would enrich this book significantly. All in all, a very educational read from an acknowledged master of his craft.(less)

like · see review

Oct 05, 2009 Jee Koh rated it 4 of 5 stars

A basic and helpful introduction to music for someone like me, i.e., no music training beyond playing the pianica in primary school, and strumming the guitar round campfires in high school. In this book first written in the 1930s, Copland distinguishes between listening on a sensuous plane (mere enjoyment of the quality of sound) and on expressive and sheerly musical planes. While not slighting the first, he contends that a better understanding of music increases our pleasure in it. Knowledge en...more A basic and helpful introduction to music for someone like me, i.e., no music training beyond playing the pianica in primary school, and strumming the guitar round campfires in high school. In this book first written in the 1930s, Copland distinguishes between listening on a sensuous plane (mere enjoyment of the quality of sound) and on expressive and sheerly musical planes. While not slighting the first, he contends that a better understanding of music increases our pleasure in it. Knowledge enhances passion, as I try (rather vainly) to persuade my students about poetry.

A chapter is devoted to each of the four elements of music: rhythm, melody, harmony and tonal quality, and the succinct discussion, giving just enough detail, builds clearly on what has been explained before. There are also chapters on traditional music forms, such as sections, fugues, and sonatas, as well as on free forms. Short passages of score illustrate the point made. They are often from Beethoven, probably because he is most familiar to the reader, but also because he ranks very high in Copland's pantheon. Other composers mentioned more than once include Palestrina, Bach, Tchaikovsky, Debussy, Stravinsky, Schoenberg, Webern, Roy Harris. As to be expected from a contemporary composer, Copland makes a pitch for modern music: it is difficult, he acknowledges, but it is continuous in its use of musical elements with what has gone on before.

To illustrate "free" forms, Copland, rather surprisingly, refers to Bach.

Bach wrote a good many preludes (very often followed by a balancing fugue) many of which are in "free" form. It was these that Busoni pointed to as an example of the path that he thought music should take. Bach achieved a unity of design in these "free" preludes either by adopting a pattern of well-defined character or by a clear progression of chordal harmonies which lead one from the beginning of a piece to the end without utilizing any repetition of thematic materials. Often, both methods are combined. By these means Bach engenders a feeling of free fantasy and a bold freedom of design that would be impossible to achieve within a strict form. When one hears them, the conviction grows that Busoni was quite right in saying that the future problems of handling form in music are bound up with this Bach-like freedom in form.

There is a chapter on opera and music drama, in which he lines up the composers on opposing sides based on whether they exalt the word or the music. Wagner he praises for his music, but deplores for his ideas and words: total art was a failure. A chapter on film music, a genre Copland himself wrote, focuses on the process of composition and collaboration.

A good part of the book's fascination for me lies in this insider's point of view, the perspective of the maker. In an introductory section, Copland defends the "expressiveness" of music against the proponents of "pure" music. That defence seems to rest on the idea of authorial intention. The composer hits upon a musical theme and develops it the way he does because he wishes to express "something" through the music. Though that "something" is necessarily general, like an emotion, it matters as what the composer wishes to communicate to his listeners.

Copland urges the reader to listen for "the long line," the path along which a piece of music develops, and finally coheres. He describes la grande ligne this way:

It is difficult adequately to explain the meaning of that phrase to the layman. To be properly understood in relation to a piece of music, it must be felt. In mere words, it simply means that every good piece of music must give us a sense of flow--a sense of continuity from first note to last. Every elementary music student knows the principle, but to put it into practice has challenged the greatest minds in music! A great symphony is a man-made Mississippi down which we irresistibly flow from the instant of our leave-taking to a long foreseen destination. 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.

In his references to the evolution of musical forms, he highlights the trend, without reifying it, towards the blurring of boundaries between sections, movements etc., and therefore a greater organicity. 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. The difference is a matter of degree, and not of kind.
(less)

3 likes · like · see review

Oct 05, 2012 Timothy rated it 4 of 5 stars

Shelves: on-music

Standard issue for Freshman majors (or it least it was once upon a time) "What to Listen for..." runs the traditional wire between genuine approachability, and the deeper, music-nerd-driven understanding of music, composition, form, and the artist's own context.

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. Highly recommended as a first read for the concert-goer, the enthusiast, the b...more

1 like · like · see review

Jun 09, 2009 Matt rated it 4 of 5 stars

The best pieces of the book for me were the flatly expository sections describing Form -- though it can get fairly tough keeping things in order (an audio companion would be incredible for this book), Copland does a pretty crisp job of quickly running through different types of fugues and variations on symphonic forms that I had no grasp of before hand.

The book's place in history is pretty great, too. Copland has a pretty unenviable position of being the guy at the crossroads trying to explain...more

like · see review

Jul 20, 2011 Doug rated it 3 of 5 stars

Shelves: nonfiction

I think the proper way to read this book would be to read for 10 minutes and listen to music for 30, so reading straight through, I probably only got 10% of what I should have, but it is enough to just get a glimpse into this amazing world of music and form. I don't think I'll ever fully appreciate music on the many levels in this book, but least I know that a conductor does more than wave a baton and make goofy gestures. But oh, what it would be like to appreciate and interpret music like this,...more

like · see review

Aug 02, 2011 Jordan Kinsey added it

I will be using this book for the rest of my career, particularly the chapter on "Contemporary Music," which I intend to copy and distribute to students en masse.

It's not without its faults, however. Most disappointing, for instance, is Copland's statement that "Harmony [...] was quite unknown in music until about the ninth century. Up until that time, all music of which we have any record consisted of a single melodic line." Come on Copland. What about the Greeks? And the Hebrews? There was ha...more

like · see review

Nov 17, 2011 Eric McLean rated it 3 of 5 stars

This book is probably great for musicians, but non-musicians should be careful picking this up. I am a musician and read this as part of a Humanities class and was worried about half the people in the room who had never taken a music lesson in their life.

I thought that it was a good book on how to listen to music and what to listen for, bringing it back to the basics of many genres. I do not appreciate the writing style and Copland comes off as being a bit arrogant and high-brow in his writing,...more

1 like · like · see review

Apr 23, 2009 David rated it 4 of 5 stars

Mostly very very good. Copland’s valuable little book introduces audiences to fundamental musical parameters (rhythm, melody, harmony, tone color) and forms (small forms, variation forms, sonatas, and fugues). The writing is clear and personal, and one wishes there were more books like this. The concluding chapters on opera and contemporary music are not so great; Copland moves the discussion from music theory to history, and his brief sketches do little to develop the “active listening” he desi...more

like · see review

Jan 07, 2013 Kristin Shafel Omiccioli rated it 2 of 5 stars

Shelves: tbr-pile-2013, historical-non-fiction, music, non-fiction, reference

2.5/5 stars. Full disclosure: I am a professionally trained musician (bachelor and master's degrees in composition, double bassist for more than fifteen years), so I realize this book isn't really intended for a person like me. But from a historical standpoint, I do appreciate this set of lessons. Through most of it, it was a nice little refresher for me. Everything is educational from a technical standpoint, and it was interesting to read a composition giant's musings, however opinionated and d...more

like · see review

Apr 14, 2012 Adrian rated it 3 of 5 stars

Shelves: music

I was pretty excited about this book because I'm a big fan of Copland and writing about music in general. In the end, I found this book to be good, but not great.

Copland, more than anything, knows what he's talking about and if you want to go into 'classical' music experiences with a better understanding of what's going on, this book is for you. I've studied classical music theory and composition rules in the past so a lot of this was review. I did learn some things about musical structures (ro...more

like · see review

May 21, 2009 Ramin rated it 4 of 5 stars

This is definitely an interesting book, and I recommend it to anyone who is even remotely interested in classical music. Aaron Copland is a composer from the U.S., probably best known for is "Fanfare for the Common Man". While Copland died in 1990, this book was written in the 1930s (as is clear from references to "the World War" and "pre-Hitler Germany", and to "contemporary" composers such as Stravinsky and Milhaud). The way he refers to the radio and records, they sound like they have become...more

like · see review

Dec 03, 2007 Louis rated it 5 of 5 stars Recommends it for: those wanting to enrich their listening of music

Shelves: arts

This is about the listening of concert music, also called classical music (not to be confused with the classical period of music). Aaron Copland is best known as a composer, but he also delivered a series of lections on What to Listen for in Music, which became the heart of this book.

The book almost has to start by answering the question, why a book on what to listen for in music. There is the obvious answer "listen to a lot of music." And that is a truth that the book does state as well. But t...more This is about the listening of concert music, also called classical music (not to be confused with the classical period of music). Aaron Copland is best known as a composer, but he also delivered a series of lections on What to Listen for in Music, which became the heart of this book.

The book almost has to start by answering the question, why a book on what to listen for in music. There is the obvious answer "listen to a lot of music." And that is a truth that the book does state as well. But this is, as we say in mathematics, a necessary but not sufficient condition for understanding. Listening to a lot of music gives a context, but not a language for discussing or thinking about it. Almost every field of understanding has a language that goes with the understanding of it. And knowing the language allows practicioners and others associated with the field to both communicate ideas for the growth of the field and the abilities of the individual.

By way of background, I tell everyone that as far as the fine art in general and music in particular, I know almost nothing. But somehow I got recruited to write on a regular basis for the local (Pittsburgh) Symphony Orchestra. As such, I am probably the epitome of appreciating and discussing music without any understanding of theory or history. (actually, many concertgoers without training probably have picked up much more history than I have.) So my writing, while focused more or less on the actual music, is restricted to what I hear and pay attention to.

So, who is this for? Copland makes the point that this is a book written by a composer for listeners. Composers are expected to know much of this to a much deeper level, because it makes their craft more expressive (as well as provides a structure they can work in. It is much harder to write something without structure because you have to confront the tendency to make meaningless drivel.) It is not aimed at interpreters (performers) to the extent they are not also listeners. The book explicitly assumes technical proficiency beyond necessity. While there is discussion of the tension between the creative aspects of both composing and performing, the interaction between the two is probably better discussed in many other places. Likewise, the music critic is not served, as technical ability and interpretation are not properly discussed, as a critic is expected to do. And it is not a catalogue with listings of recordings. While many works are mentioned (and conveniently listed) reading this book does assume access to a reasonable music library in being. There are other introduction to classical music titles that provide descriptions of pieces and a history of music. This work is intended to train the ear, not a reference to fill the mind with facts.(less)

like · see review

Jul 21, 2009 Brianne chappell is currently reading it

difficult to understand if one has no knowledge of music, especially music language, and how to read sheet music. i haven't been, but it's probably extremely helpful to listen to suggested music at the end of each section. for sure i've been listening to more classical than i ever have, and i feel that i'm enjoying it more than ever, but i can't put a finger on why...hmmm. so far i really liked the chapter on musical texture.

like · see review

Nov 03, 2011 Kirk Lowery rated it 5 of 5 stars · review of another edition

Shelves: music

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.

like · see review

Jan 22, 2009 Barnaby Thieme rated it 5 of 5 stars

Shelves: music

This classic has been in print for many decades, and the reasons for this are clear. This book provides an excellent overview of compositional forms that can assist the interested listener is understanding the structure and development of classical music. It is easy and enjoyable to read and immediately enhances one's appreciation of the superb art of music.

like · see review

Oct 13, 2011 James Murrell rated it 5 of 5 stars · review of another edition

A great book for anyone interested in music. The book will give you insight into the composer's thoughts about music. Mr. Copeland was a great American composer & with this book he really captured in words the essence of what music is all about. I highly recommend this book to everyone!
Peace,
James Murrell
http://www.jamesmurrellgtr.com

like · see review

Mar 15, 2013 Tamagawajuju rated it 4 of 5 stars

I used this book for my introduction to music literature classes and still read it to get a fresh perspective on how to teach non-musicians the craft and joy of learning about classical Western music. An excellent reference book and starting point for those who enjoy listening to music and want to expand their knowledge.

like · see review

Jan 16, 2011 Kelley rated it 3 of 5 stars

the moral of the story: pay attention!

covers surprisingly large amount of ground on melody, rhythm, tone, form, etc in a small number of pages.

probably a bit hard to grasp for non-musicians (since examples require reading musics), though, and musicians are likely to already know most of what's in it.

like · see review

Apr 07, 2011 Amy rated it 4 of 5 stars

Great beginner book for music appreciation. The first chapters are very helpful for people who are not music literate. Other chapters are more technical, but still understandable. It helps to listen to the pieces he cites while reading the book (and he gives you great examples).

like · see review

Oct 05, 2011 James rated it 5 of 5 stars

A refreshing and accessible corpus on the world of classical music. Even having studied music for nearly three years, I still find almost all books of this nature utterly mind boggling- yet this straight to the point, culturally challenging work is a must read.

like · see review

Nov 14, 2010 Bev rated it 5 of 5 stars

So many great and prescient lines in this book. I never read with a pencil, but with this one I underlined and dog-eared the whole way through. I loved the chapter on film music.

Also, the book was written in 1939 and this is just a footnote of his early on:

"Recent experiments with electronically produced music, however, point to a new species of scientifically trained composer as the pioneer type of our own time."

Also, it's always great to hear a musician try to explain the creative process and...more

like · see review

Jul 06, 2009 Greg rated it 4 of 5 stars

Simultaneously thorough and accessible. It's chock-full of good examples of music of various styles. Having read it once, I'd like to read it again with some of the pieces handy. It is also refreshing to read a book about music written by an accomplished composer who is not afraid to say that some composers and compositions are better than others. I've had just about enough wishy-washy "it's all art" speech, thank you very much!

like · see review

May 18, 2012 Isaac rated it 4 of 5 stars

This is a fantastic book. Copland is able to distill the bones of music down to where anyone can understand them, but he doesn't give up a more musically literate audience. Full of great insights only a great composer can give.

like · see review

Oct 16, 2010 Barry Behrstock added it

I sat next to an x lead singer for Supertramp and discussed music the entire flight. I told him I had almost no knowledge on the subject and he recommended this 1939 book. (not read by me, but I own it and think I should)

like · see review

Feb 09, 2009 Brendan rated it 4 of 5 stars

Aaron Copland is the best!
This book is based off a series of 15 public lectures he gave in NYC in the '30s. From the acknowledgments:

"The talks were designed for the layman and music student, not for the professional musician. The present volume, therefore, is correspondingly limited in scope. My purpose was not to be all-inclusive on a subject that might very easily spread itself but to confine the discussion to what seemed to me to be essential listing problems."

It's a delightful read from a...more

like · see review

Aug 11, 2011 Gillian Bourassa added it

I love this book! Copland explains in somewhat theoretical terms what makes music, but it's still a great book for musicians and non-musicians alike.

like · see review

Dec 22, 2010 Ron rated it 3 of 5 stars · review of another edition

Shelves: non-fiction, music

I picked this up while in college. Not a bad place to start in developing your own taste in music. Reminds me of C. S. Lewis' essay on how to read.

like · see review

Feb 14, 2009 Robert rated it 4 of 5 stars

I'm learning to listen for melody, theme, drama - in music. It's fun!
Remember, Aaron Copeland is one of America's classic composers.

like · see review

Jan 07, 2011 Steve Smith rated it 5 of 5 stars

Shelves: music, education

Copland's mind is unmatched in analyzing and discussing music and heart is with the interested (but not necessarily "musical") listener.

like · see review

« previous 1 2 3 4 5 6 7 8 9 … 99 100 next »

new topic
Discuss This Book

There are no discussion topics on this book yet. Be the first to start one »

Recommend it | Stats | Recent status updates

combine
Other Editions (28)

More editions...

Genres

Music

177 users

Non Fiction

45 users

Reference

5 users

Education

4 users

Art

2 users

Literature > American

2 users

Modern

2 users

Music > Classical Music

2 users

See top shelves...

Readers also enjoyed similar books

About Aaron Copland

Aaron Copland was born on November 14, 1900 in New York City. His musical works ranged from ballet and orchestral music to choral music and movie scores. For the better part of four decades Aaron Copland was considered the premier American composer.

Copland learned to play piano from an older sister. By the time he was fifteen he had decided to become a composer. His first tentative steps included...more

More about Aaron Copland...

Books by Aaron Copland

More…

Share This Book

Facebook Twitter Your website

Trivia About What to Listen fo...

No trivia or quizzes yet. Add some now »

Quotes from What to Listen for in ...

“The whole problem can be stated quite simply by asking, 'Is there a meaning to music?' My answer would be, 'Yes.' And 'Can you state in so many words what the meaning is?' My answer to that would be, 'No'.” — 8 people liked it

More quotes…

title link	preview: What to Listen for in Music
avg rating	preview: What to Listen for in Music Goodreads rating: 3.93 (1945 ratings)
small image	preview: click here [close]
med image	preview: click here [close]
BBCode	[url=http://www.goodreads.com/book/show/99126.What_to_Listen_for_in_Music?utm_medium=api&utm_source=blog_book][img]http://d.gr-assets.com/books/1309212078l/99126.jpg[/img][/url] [url=http://www.goodreads.com/book/show/99126.What_to_Listen_for_in_Music?utm_medium=api&utm_source=blog_book]What to Listen for in Music by Aaron Copland[/url]

What to Listen for in Music (Revised Edition)

Friend Reviews

Community Reviews

Share This Book

Share This Book on Your Website