Average customer rating:
- what to listen for in CLASSICAL music
- Easily Worth the Price and Well Worth the Effort
- A great look at music through a great composers eyes!
- Eternal Message
- A great introductory guide from a leading expert
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What to Listen for in Music
Aaron Copland
Manufacturer: Signet Classics
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ASIN: 0451528670 |
Book Description
"The definitive guide to musical enjoyment" (Forum) with over 1.5 million copies in print.
Customer Reviews:
what to listen for in CLASSICAL music.......2007-08-20
On the back of my copy, it says "the best book of its kind I have ever seen - deems taylor"
I don't know if the latest edition still says that, but it's important to know what KIND of book this is. It was written in 1939, and its chapter on "Contemporary Music" is about composers who died long ago.
It's not exactly a "complete idiot's guide" to the subject of what goes on with classical music, but it's close.
Despite its age, it really is beautifully written and contains loads of good information about listening to classical music.
Easily Worth the Price and Well Worth the Effort.......2007-08-05
Not easy to read but the easiest, useful book on the subject. Revisions excellent.
A great look at music through a great composers eyes!.......2007-05-05
This is a wonderful book on music appreciation that is accessible to everyone. I first read it many years ago and found that it many layers making it applicable to what I knew at the time and even more relevant as I've gotten older.
I played music professionally for 11 years and I have a deep understanding of music theory. I have also given some lessons on various instruments over the years and appreciate classical music greatly. This book was probably the first book that opened my eyes to classical music and helped me to appreciate it much more.
Many other people have reviewed this book and their words have captured much of my sentiments. Suffice it to say that this work is a gem and an added bonus is that it presents its topic through the eyes of a composer, a man who loved music and fortunately could convey his feelings and orientation to his art beautifully in words.
Thanks Mr. Copland. My life is indeed better for having found this book early in life when I was beginning my musical journey.
Eternal Message.......2007-01-12
Aaron Copland gives you an insight into the form and structure of music and how one should be listening to music. If you love music or have a passion for it whether as a musician or listener this book is invaluable. Invaluable is a strong word but I do not know how else to express the appreciation and rewards gathered by the reader from Copland's writings. It transcends all types of music making it universally adaptable for what one would hope to gain by reading it. The text is old but the message is eternal.
A great introductory guide from a leading expert.......2006-11-29
It was great to finally get around to reading this book. Aaron Copland is perhaps the foremost American composer in the 20th century, and is often credited for developing a distinctly "American" classical sound. While he is certainly capable of writing esoteric treatises on music, this volume is really much more oriented towards the general reader.
In his book, Copland provides in essence an entire music appreciation course. He discusses the seven aspects of music (rhythm, melody, harmony, texture, timbre, rhythm/meter, and form), illustrating them and explaining their individual contributions towards musical quality. The opening chapters address the many levels on which we listen, which is one of the fundamental challenges facing classical music today. Most of us are used to listening to music on a superficial, aesthetic level. Great classical music, however, is not only pleasing on that level, but also has qualities which are more substantial.
Copland includes listening examples at the end of each chapter so that students can easily recognize the aspects which Copland is attempting to describe. With tools like iTunes and Napster, this can now be done much more easily.
Leonard Bernstein's The Joy of Music travels along similar lines as this book. Those who like Copland's volume may enjoy Bernstein, but Lenny's writings are more intellectual and can be drier, at times. I would certainly recommend Copland's book to anyone who wants to become more interested in Western classical music. With the right kind of supplemental materials (histories on various composers), it could even be used as a college/high school textbook. Enjoy it!
Book Description
One of the most forthright and talented of American composers writes here of the part played by the freely imaginative mind in composing, performing, and listening to music. He urges more frequent performance and more sensitive hearing of the music of new composers. He discusses sound media, new and old, and looks toward a musical future in which the timbres and intensities developed by the electronic engineer may find their musical shape and meaning. He considers the twentieth-century revolt against classical form and tonality, and the recent disturbing political interference with the form and content of music. He analyzes American and contemporary European music and the flowering of specifically Western imagination in Villa-Lobos and Charles Ives. The final chapter is an account, partially autobiographical, of the composer who seeks to find, in an industrial society like that of the United States, justification for the life of art in the life about him. Mr. Copeland, whose spectacular success in arriving at a musical vernacular has brought him a wide audience, will acquire as many readers as he has listeners with this imaginatively written book.
Customer Reviews:
short but profound.......2007-08-20
Of all the books out there about music, page for page this is one of the best. It's a composer's perspective on why music gets composed, and HOW it gets composed. Copland takes you into the thought processes of musical creation. If you've ever been tempted to subscribe to the idea that music is a universal language, Copland undercuts that idea by exploring the theme of music as NONVERBAL SYMBOLS in a SYSTEM of inherited sounds. The second half of the book is dated, because he's addressing issues that were contemporary in the 1950s. But the first half is well worth reading.
To learn to listen .......2006-11-27
This book contains the text of the six Charles Eliot Norton lectures that Copland gave at Harvard. Copland thinks about Music and its meaning. He speaks about the creation and appreciation of Music as activities of the Imagination. He rails against the fuddy- duddy music scene in which all over the world a very limited repertoire of classic works holds the stage. He talks about the special affinities composers have for different types of instruments. He argues for a greater openness to new Music. He distinguishes between the capacity of the ordinary listenerer and the professional musician in terms of their ability to anticipate what is next in the score.
He teaches throughout the meaning of being a listener and lover of Music.
Amazon.com
Opening with a 12-page chapter that gives a sharper impression of the great American composer's personality than many full-length books, this superb biography goes from strength to strength as it elucidates Aaron Copland's background, beliefs, affiliations, and achievements. Music historian Howard Pollack depicts Copland (1900-90) as a man whose inner serenity and self-confidence enabled him to encompass "startling dichotomies" in his life and work. "A participant in the avant-garde, he wrote works of popular appeal," comments the author. "A Jewish, homosexual, liberal New Yorker, he became a national hero." Moving forward in a generally chronological manner, the narrative mixes two kinds of chapters. Some pursue themes over time: his feelings about European music (he adored Stravinsky, was ambivalent about Mozart), his political commitments (which got him into trouble during the McCarthy era), and his relationships with fellow composers and a host of nonmusical artists all equally determined to give America its own distinctive culture. Others concentrate on describing and analyzing groups of compositions: perennial favorites like Appalachian Spring and Billy the Kid, of course, but also the concertos and symphonies respected by his peers. In either mode, Pollack writes with a clarity and dignity eminently suitable to his subject, who seems as warmly appealing as his music. --Wendy Smith
Book Description
A candid and fascinating portrait of the American composer.
The son of Russian-Jewish immigrants, Aaron Copland (1900-1990) became one of America's most beloved and esteemed composers. His work, which includes Fanfare for the Common Man, A Lincoln Portrait, and Appalachian Spring, has been honored by a huge following of devoted listeners. But the full richness of Copland's life and accomplishments has never, until now, been documented or understood. Howard Pollack's meticulously researched and engrossing biography explores the symphony of Copland's life: his childhood in Brooklyn; his homosexuality; Paris in the early 1920s; the Alfred Stieglitz circle; his experimentation with jazz; the communist witch trials; Hollywood in the forties; public disappointment with his later, intellectual work; and his struggle with Alzheimer's disease. Furthermore, Pollack presents informed discussions of Copland's music, explaining and clarifying its newness and originality, its aesthetic and social aspects, its distinctive and enduring personality.
Customer Reviews:
Great approach and thorough biography.......2005-01-29
When Pollack wrote this book, Copland desperately needed a biographer, and for a initial comprehensive effort, Pollack's book more than fills the bill.
The book is a hefty 550 pages, not counting notes and index, but its unorthodox organization--the chapters are chronological, alternating, for example, a history of a few works with an analysis of some aspect of Copland's life--keeps the story moving. In fact, this organizational gambit is about the only thing that makes a life so sprawling as Copland's manageable. By grouping together everything having to do with, say, Copland and European composers, in one chapter, he makes it much easier for the reader to sink his teeth into the subject and to refer back to a topic later on.
This book is almost a hagiography--Pollack clearly adores Copland and, if anything, views him as underappreciated. In particular, Pollack seeks to revive Copland's reputation as a "serious" composer, right up there in the 20th-century American canon with Ives. Along with such staples as "Appalachian Spring" and "Fanfare for the Common Man," Pollack wants us to recognize the achievements of his later, twelve-tone works. Further, he attempts (somewhat convincingly) to show the relationship between his "popular" works and the less-accessible ones, whereas Copland's works have often been seen as belonging to different "periods."
I wouldn't be surprised if someone supersedes this biography in another 15 or 20 years, but for now, Pollack's book is a great introduction to the man and his work. Not only that, but it places Copland's ascension from struggling artist to eminent public figure in such a way to inspire young artists in all fields. A great read.
Modish in parts, but still an essential guide to Copland.......2001-01-03
Whilst Esquire as early as 1948 called Copland "America's No. 1 Composer", secondary Copland literature (which, given Copland's habitat and distinction, one automatically credits with a forest-wrecking amplitude) proves surprisingly scarce. The first words of Pollack's own book are, in part: "For many years I took Copland for granted ... he remained a shadowy figure at some distance from the central concerns of myself, my classmates and my teachers".
Amazingly, between 1955 and the present volume not a single comprehensive study of Copland's life, by an outsider (as distinct from Copland's own explications of his aesthetic), appeared. "Essential" biographies of someone or other emerge, if we are to believe the book trade's spin-doctors, at least once every week; the account under review actually deserves this adjective. Its author (Professor of Music at the University of Houston) shows his love for Copland's oeuvre on every page, which helps; here is no glorified doctoral thesis where the authorial jargon struggles to drown out the authorial yawns.
Yes, as other reviewers have complained, modish identity politics get too indulgent a treatment; yes, as they have also complained, Pollack makes too small an effort to integrate his insights into a coherent structure. But we're not likely to encounter a better guide to the subject.
Variations on Copland.......2000-03-28
While occasionally indulging in tendentious "theory," University of Houston professor of music Howard Pollack's ambitious, uneven book is redeemed by the author's encyclopedic knowledge, informed affection for Copland's (1900-1990) person and music, and the biographer's ability, more often than not, to write technically sophisticated musical analyses without obscuring the music.
Given the identity politics dominating the new musicology, for all its flaws, Aaron Copland: The Life and Work of an Uncommon Man, is a good and valuable book. It contains information from previously unavailable letters and interviews with the late composer's friends and relations. But why does a tenured, respected professor writing for a trade house adopt the method of cobbling on end chapters dealing with tendentious, identity-political theory that can only detract from the work? And yet, at present, this may be as good as can be hoped for: Some theory as encore, to satisfy the commissars. The alternative is, increasingly, all tin-eared theory, and no music.
The finest book on Aaron Copland written thus far........1999-09-04
Howard Pollack has, quite simply, written the finest account of Aaron Copland' life and music thus far. I have all of the other biographies - including the excellent autobiography by Copland and Vivien Perlis. As worthwhile as these earlier publications are, it is Howard Pollack who has given all Copland devotees the quintessential story of the life and the music of America's greatest composer. I can think of no better place to start exploring Copland's genius than with this book as an introduction to the music, without which the world would be a poorer place and the 20th century would be missing a unique body of sound. It is inconceivable, to me at any rate, to imagine a world without Copland's music. No one else comes close to creating his sound world.
Thank you Mr Pollack for making it so clear to all of your readers that Aaron Copland is not only America's greatest composer but is, historically, and without question, one of most important composers the world has ever produced.
the finest biography written on the life of a composer !.......1999-07-26
I have just finished reading Howard Pollack's biography of Aaron Copland.This monumental work provides the diffinitive account of the life and works of America's greatest composer.This is a "must read" for classical music lovers or anyone interested in American culture in the 20th century.
Average customer rating:
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Copland: Since 1943
Aaron Copland , and
Vivian Perlis
Manufacturer: St. Martin's Press
ProductGroup: Book
Binding: Paperback
Copland, Aaron
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Copland : 1900 through 1942
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Aaron Copland: THE LIFE AND WORK OF AN UNCOMMON MAN (Music in American Life)
ASIN: 0312050666 |
Book Description
Hailed as important, entertaining, and revealing, Copland: Since 1943 is composer Aaron Copland's irresistible account of the latter half of his career--a career that brought us such pioneering works as Appalachian Spring and Lincoln Portrait, the movie scores for Of Mice and Men and Our Town, and numerous other orchestral and chamber works. It tells the story of how a self-described "brash young man from Brooklyn" went on to become one of the founding fathers of "serious" American music. Featuring cameos by luminaries such as Leonard Bernstein, Martha Graham, Agnes de Mille, Benny Goodman, and other peers of Aaron Copland during this explosively creative period, Copland: Since 1943 is an invaluable memoir that charts the crescendo of one of the most accomplished careers in the modern canon.
Book Description
This is the first book devoted to the correspondence of composer Aaron Copland, covering his life from age eight to eighty-seven. The chronologically arranged collection includes letters to many significant figures in American twentieth-century music as well as Copland’s friends, family, teachers, and colleagues. Selected for readability, interest, and the light they cast upon the composer’s thoughts and career, the letters are carefully annotated and each published in its entirety.
Copland was a gifted and natural letter writer who revealed much more about himself in his letters than in formal writings in which he was conscious of his position as spokesman for modern music. The collected letters offer insights into his music, personality, and ideas, along with fascinating glimpses into the lives of such other well-known musicians as Leonard Bernstein, Carlos Chávez, William Schuman, and Virgil Thomson.
Book Description
In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Salon Mexico, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound--the social and political perspective that might be heard within these familiar pieces--has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, political, and cultural currents of the Great Depression and Second World War. Musicologist Elizabeth Crist argues that Copland's politics never merely accorded with mainstream New Deal liberalism, wartime patriotism, and Communist Party aesthetic policy, but advanced a progressive vision of American society and culture. Copland's music can be heard to accord with the political tenets of progressivism in the 1930s and '40s, including a fundamental sensitivity toward those less fortunate, support of multiethnic pluralism, belief in social democracy, and faith that America's past could be put in service of a better future. Crist explores how his works wrestle with the political complexities and cultural contradictions of the era by investing symbols of America--the West, folk song, patriotism, or the people--with progressive social ideals. Much as been written on the relationship between politics and art in the 1930s and '40s, but very little on concert music of the era. Music for the Common Man offers fresh insights on familiar pieces and the political context in which they emerged.
Average customer rating:
- Copland Illuminated by his Cultural Context
- Copland is great, the book could be better
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Aaron Copland's America: A Cultural Perspective
Gail Levin , and
Judith Tick
Manufacturer: Watson-Guptill Publications
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Binding: Hardcover
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What to Listen for in Music
ASIN: 0823001105 |
Book Description
Published in conjunction with an exhibition at the Heckscher Museum in Huntington, New York, this fresh and engaging look at a great American composer reveals a little-known but critically important passion in his life: cherished friendships with some of the most remarkable artists of the twentieth century, many of whom had a significant influence on Copland's music throughout his long and illustrious career. There are two essays, one that focuses on Copland's interactions with the art world (visual and otherwise), the other on his music. The book looks at how the composer's fascination with folk and popular culture, native arts, jazz, cinema, and the search for an American national art gave form to his music, which sprang not only from his personal talent but also from connections to the powerful creative forces around him. Also documented are Copland's friendships with painters such as Georgia O'Keeffe and Diego Rivera; choreographers Martha Graham and Agnes de Mille; and writers Hart Crane, Gertrude Stein, and others. Appalachian Spring and other great Copland works are discussed in context, with photos of ballets and films for which Copland composed included. Paintings, drawings, prints, and sculptures by Picasso, de Kooning, Noguchi, and others suggest the parallels between Copland's genius and that of his fellow artists.
Customer Reviews:
Copland Illuminated by his Cultural Context.......2001-05-03
This book reproduces the paintings & fills in the story of Aaron Copland's friendships & interactions with the world of the the arts, from his visits to the Brooklyn Museum, Paris, & adventures in New York. A lively & informative review of the show for which the book is a catalogue & interpretive essay, appeared in the New York Times, written by John Russell: [December 22, 2000, Friday] ART REVIEW; Fanfare for Copland, A Fervent Adventurer By JOHN RUSSELL Source: The New York Times Section: Leisure/Weekend Desk [1007 words] Abstract: John Russell reviews Heckscher Museum exhibit illustrating America of composer Aaron Copland. [photo (M)] -------------------------------------------------------------------Lead Paragraph: To walk through ''Aaron Copland's America'' at the Heckscher Museum of Art in Huntington, on Long Island, is a considerable adventure. The exhibition is a biographical study of one of the best-loved American composers of the 20th century. But it is much more: a freewheeling, farsearching trawl through an America that, though vital to Copland, was not his only concern...... Born in 1900, Copland lived until near the end of a tumultuous century. He lived more than one of that century's adventures. As a younger American composer, John Adams, said last year, Copland "reached his maturity at the same point that the country was seriously searching for its own cultural identity." He added: "Copland, like Robert Frost and Edward Hopper, found a way of expressing in the most simple and direct language deeply felt intuitions about the American experience." [full review available from NYTimes archive] ------------------------------------------------------------------------- What I found moving was the way the book shows what kinds of music, art, ideas were exciting people as Copland matured & how he got into the swim, indeed helped to shape it. For me the music becomes more exciting because the book gives it a context & illustrates & evokes the culture in which Copland made his way.
Copland is great, the book could be better.......2001-02-10
Copland is one of the great american composers. This book makes an effort to capture that perspective in the written word but falls somewhat short. Listen to music for music don't read about it. This book is enjoyable to the huge copland fans who crave everything that has his name on it, but in general is not all to interesting otherwise.
Book Description
Aaron Copland is one of America's most beloved musical pioneers, famous for Appalachian Spring, Billy the Kid, and Lincoln Portrait, as well as the movie scores for "Our Town" and "Of Mice and Men," and numerous orchestral and chamber works. This candid, colorful memoir begins with Copland's Brooklyn childhood and takes us through his years in Paris, the creation of his early works, and his arrival at Tanglewood. Rich with remembrances from Leonard Bernstein, Virgil Thomson, and Nadia Boulanger, as well as a trove of letters, photographs, and scores from Copland's collection, this is one of our most vivid musical autobiographies, and an enduring record of an American maestro's explosively creative coming of age.
Customer Reviews:
This is a gem of a book........1998-07-14
Copland not only gave us insight into his life, but the lives of the modern classical composers. Through this book you can learn the "family tree" of modern American and European composers.
Customer Reviews:
Wonderful Book.......2000-07-02
Venezia's love and respect for music shine through in another of the books in his World's Greatest Composers series. The story of Aaron Copland's life is told in an interesting and amusing fashion and shows children how Copland discovered his own style through his experiences over the years. While Venezia's artwork is comical as ever, the choice of artwork is also wonderful, showing how music as well as art changed as the times were changing. Children will appreciate how Copland looked to change his musical style when he realized that many people weren't understanding it. Venezia really brings Aaron Copland to life in this wonderful little book.
Book Description
Two CDs featuring: Listening Activities Dolphin Dreams (Jonathan Goldman) Simple Gifts (Elder Joseph Brackett) Appalachian Spring (Aaron Copland) Exodus (Bob Marley and the Wailers) Redemption Song (Bob Marley) Grand Entry Song (Little Otter Singers) Bay a Glezele Mashke (Klezmer Conservatory Band) Oy Abram! (Klezmer Conservatory Band) Shango (Babatunde Olatunji) De sancta Maria (Hildegard of Bingen) Maru-Bihag (Ravi Shankar) La Boheme, End of Act II (Giacomo Puccini) The Four Seasons (Antonio Vivaldi) This Land is Your Land (Woody Guthrie) Bring Me Little Water, Sylvy (Leadbelly [Huddie Ledbetter]) The Young Person’s Guide to the Orchestra (Benjamin Britten) Gending Petegak (Gender Wayang Pemarwan) Animal Crackers (Axigally) Huachos (Tramps) Symphony no. 39 (Franz Joseph Haydn) Sultan Veled Peshrev (Dogan Ergin) Absalon, fili mi (Josquin Desprez) Suite Thursday (Duke Ellington and Billy Strayhorn)
Customer Reviews:
Good Scope, Bad Definition.......2005-10-02
The professor for my general education music appreciation course picked this book because she likes its emphasis on world music and the way that it is organized around the five elements of music. I really like this structure as well. What I don't like so much is when she has to say, "Oksy, this is what the book says, but that's a horrible definition of phrase," for example. "This is the definition we will use." Now, obviously any college course isn't built around a book, but goodness, that doesn't excuse bad information, or lack of information! My professor also remarked, sarcastically, "I like how there are so few musical terms discussed in Chapters 7 and 8. Oh, go off and read them, you'll see."
No soundscape!.......2001-04-21
Anticipating a lecture on Gregorian chant by Randel, the new president of the University of Chicago, I approached our newly acquired copy of MUSIC IN OUR WORLD through its index. Turning to the indicated pages I saw how Gregorian was discussed in the set of pages overlapping with Hildegard of Bingen. Of course I wanted to hear the contrast between the two musics. Alas! the CD meant to accompany the text was, according to the what we learned from Amazon, NOT YET AVAILABLE. Yet we knew from other sources that the disc had already been produced. Our searches by other routes led always to dead ends. Thus, when attending our president's lecture, I had only the words without any sound in my ears. Curiously, he also offered no samples of the music. Apparently words rather than notes are sufficient for the musical cognoscenti. Would Amazon or the book's publisher please make it EASY for the would-be-customer --who is neither professor nor student of music-- to find the CD meant to accompany the text? Renate Fernandez P.S. I've just learned that what I'm hoping to hear is catalogued as COMPACT DISC SET FOR USE WITH MUSIC IN OUR WORLD by Stuart-White. Again, another curiosity, its authorship is reversed. No matter, I shall soon be able to hear it. I very much like the book's combination of text, illustrations and caption, and boxes. The illustration of textures and melodies on page 113 has me puzzled, however. The absence of words or syllables under the line illustrating Monophonic texture fails to clarify how the line accords or fails to accord with the word. You can see by my comments that there is a potential readership/listenership outside of the circle of pros that is eager to accede simultaneously to MUSIC IN OUR WORLD.
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